Page 29 - Fujifilm Exposure_39 Stardust_ok

BOYS IN THE DRINK
A watery return to film for Take That on I’d Wait For Life
music promo
on the faces, and I think it looked quite nice.”
For the band members it seems to have been as arduous as for Armour-Brown and his crew, the multiple set-ups and odd hours requiring the band to be either wet or tired.
“They were loving it, though. I spoke to Gary Barlow on the way back and he said he said that he loved doing this, after a gap of having not made any promos for 10 years. Now that he’s back doing it, he sees it with new eyes. They were there until whatever hour we
needed them, and they did all their own stunts.”
Not all bands could claim that. One atmospheric moment in the flashback comes when band member Howard Donald is seen sitting by the road in a gloomy light that could be either dusk or dawn.
“That’s actually night time,” Armour-Brown explains. “I under-exposed it and I think it works, being under-exposed and blue. That was on tungsten film which I decided not to correct.”
A 12-year veteran of
pop promos, Armour-Brown has worked with the likes of Mark Ronson, Shirley Bassey, Siouxsie Sioux and Paul McCartney. He has also shot commercials for Ford, Toyota and Sky Sports. Now he is about to embark on his first feature as DP.
“It’s a film called White Lightnin’ about an American guy called J esco White, based on a documentary about the shenanigans he gets up to.”
Shooting in Croatia later this year, the film will be
directed by Dominic Murphy. If it seems unlikely that they should be telling the story of a cult Appalachian dancer in Eastern Europe, they can at least take heart from Take That. The boy band’s improba- ble, yet highly successful, reunion has proved that in showbusiness, anything is pos- sible. ■ ANWAR BRETT
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I’d Wait For Life was originated on 35mm Fujicolor ETERNA 400T 8583 and ETERNA Vivid 160T 8543
Fujifilm Motion Picture • The Magazine • Exposure • 27