Page 33 - Fujifilm Exposure_36 Living The Dream_ok

me all types of references and then patiently listened to my suggestions. We basically combined our different approaches. He mentioned Trainspotting, for instance, but more as an editing style and pretty much left the ‘look’ to me.
“My original idea, and it’s pretty much all there, was to leave quite a few things in deep shadow. It often depended on which bits of the main character’s life we were dealing with. Some are bright and sunny, especially when he remembers holidays with the love of his life in Morocco. That’s quite poetic, a bit soft, nice and warm.
“For the rest, there are plenty of green and dark black shadows. There’s a moment, for example, when he learns he will die within three years if he doesn’t stop the drink and the drugs. As he goes to the first floor with the nurse, it’s gets a bit dull and greyer, then completely bare and very dark, contrasting with the sun outside.”
Veljkovic cites DPs like Darius Khondji, Roger Deakins BSC and Chris Doyle HKSC as his main inspi- rations. “They are always supporting the drama, the characters and the story even on a subconscious level. What’s my signature? I have no idea,” he smiles.
He says he was extremely happy with the new Fujifilm stocks – Eterna 500T 8573 and Eterna 250D 8563 – which he selected after extensive, albeit speedy, testing due to the brevi- ty of his ‘prep’ period. “I put different gels on the fill lights than those I put on key lights. In fact, I rarely leave any light without gel-ing it. I also like play- ing with the texture and the emulsion. I also had it in mind that I was doing a DI for this film.
“Molinare, who are doing the post-production, did a test scan of the
neg for me bringing it back in 35mm. I was then very happy knowing that I would be going DI... that is, going halfway into pushing anything then leaving the rest to finish off in elec- tronic post-production.”
Vejkovic, who even used his own West London apartment for a scene – “it was the first time a set had ever come to me” – is very upbeat about Dangerous Parking despite the obvi- ous rigours.
“No person on the set was miser- able or unhappy. It was our choice to be there. Every person got to read the script, even the spark and the gaffer, and everyone loved it. That belief car- ried the whole film. We all just wanted to make it happen.” ■ QUENTIN FALK
Dangerous Parking
was originated on 35mm Eterna 500T 8573 and Eterna 250D 8563
Fujifilm Motion Picture • The Magazine • Exposure • 31