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INSPIRED
BY THE GREAT
MASTERS
AN INTERVIEW WITH
EIGIL BRYLD
F or all his many talents, little is known about Leonardo Da Vinci’s musical tastes. So it’s
not entirely clear what he would make of Immortal, a pop promo featuring Noah Francis and the notorious
rap group Wu-Tang Clan, based on
Da Vinci’s iconic rendering of The Last Supper. For Danish DP Eigil Bryld, the
with a long table, and in the film we go from night-time to day time with the sun rising in the background.
“The difficult thing was to create the quality of light from the original. We wanted quite a subtle reproduc- tion of the tonal range because it’s a very soft light. The reason we chose Fujifilm was to get that subtlety of the tonal range and also to get that sub-
tlety of colours as well. There are elements of quite saturated colour in it, in the costumes, but other than that we wanted quite a subdued colour reproduction.”
Selecting ETERNA 500T 8573, Bryld had to recreate this classic image while observing the conventions of the pop promo. “We played quite a lot with very narrow shutters and very high speeds,” he adds, “to get a very
aggressive and edgy look.”
Such iconoclasm brings to mind
the Danish-based revolution that was the Dogme movement. But despite moving into cinematography at the time Dogme was taking place, Bryld’s work and his subsequent career, has tended to be more international looking.
continued on page 28
job of lighting this short film offered an insight into the Renaissance master’s methods.
“It’s a very humbling exercise,” Bryld explains from his home in Copenhagen. “The designer very skilfully recreated the scene and we shot it with a green screen for the background. They’re all sat in a room
Photo above: DP Eigil Bryld on the set of The King (photo Milo Addica); main: a scene from Immortal
28 • Exposure • The Magazine • Fujifilm Motion Picture