Page 11 - Fujifilm Exposure_36 Living The Dream_ok

NOTHING
“It’s really great to find a guy that has such experience who still works as if it was his first day in this industry.”
why he’d chosen to use the 35mm Fujicolor Super F-500T 8572.
“I had got rather disillusioned with the way film stocks have been going recently. They had got more and more contrasty. The print stocks had become more uniform and more uni- formly contrasty as well. You’d get these whole areas of dark darkness where you’d think: ‘Surely that’ll expose a bit...’ and it didn’t. Also, those contrasty stocks didn’t suit the slightly older woman because any line that’s a fake grey will be dark and so it makes them look less glamorous.
“Yes, I was very pleased with this stock. The thing you can’t handle in film grading is contrast: that’s the way it is. I try to make my lighting invisible, andtodothatyouhavetolightsimply, with a minimum number of lamps.
“I’ve got into that more and more over the years even though the stock has got away from me somewhat. It was a great relief to find a stock where I could go back to what I know so well – that is, making it look natural with- out having to compensate with extra fill on top of it.”
According to writer-director Jean- Baptiste Andrea, Big Nothing – also shot on Fujifilm, with the Isle of Man, Wales and British Columbia doubling for Oregon, USA - was “like a really dark fairy tale for me. Richard and I decided to shoot it in a stylised way without going over the top. We were trying to get unusual camera angles and unique style. It’s heightened reali- ty. It’s real but it’s slightly more than that and that’s what we were trying to translate visually”.
Added Schwimmer: “The combina- tion of Jean-Baptiste’s direction and Richard’s shots give it a certain energy
and style. It’s been really challenging, really fun and different. I’ve had a cam- era strapped to my chest; another time I had it strapped to my back and that makes for all these great angles. The shots are really imaginative”.
Noted Andrea: “Working with Richard has been one of the biggest highlights and a truly satisfying experi- ence. It’s so hard to find a DP with whom you share values and a vision, and with Richard I’ve found both.
“We talked a great deal before we started and the first thing I wanted to avoid was references to any other movie. I was really keen for us to do our own stuff and create our own look. Richard liked the idea of starting from scratch and I really love the work he does. He’slikealittleboyandIfeel like that too. When you’re directing a movie, it’s very exciting and exhilarat- ing.
“When we watched rushes togeth- er, he was laughing his head off. I remember he was shaking his legs like a five-year-old, cracking up. It’s really great to find a guy that has such expe- rience who still works as if it was his first day in this industry. “That’s quite unique because a lot of people are jaded. It’s surprisingly hard to find enthusiastic people because this is a really difficult industry and some peo- ple just decide to go through the motions. This guy is still 100 per cent passionate”. ■ QUENTIN FALK
The Upside Of Anger was originated on 35mm Fujicolor Super F-500T 8532; Big Nothing was originated on 35mm Eterna 400T 8583 Both films are now on general release throughout the UK
Photo main: DP Richard Greatrex BSC; above l-r: two scenes from The Upside Of Anger starring Kevin Costner; scenes from Big Nothing with Simon Pegg, David Schwimmer and Alice Eve; far right: Natascha McElhone and Jon Polito
Fujifilm Motion Picture • The Magazine • Exposure • 9