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THE DP VIEW
STEFANO MORCALDO
D
ario and I have known each other for years and we’ve made many commercials together. In terms of film refer- ences, we both thought that
Jacob’s Ladder [Adrian Lyne’s spooky 1990 drama, photographed by Jeffrey Kimball] and [2004’s]The Machinist [shot by Xavi Giminéz] had something in common with The Deaths Of Ian.
But this is still different in many ways since it’s a movie with creatures, and things are going on during the day, in bright light, which isn’t usual for this kind of film.
We’d all liked to have had more time and some of the scenes – where the creatures are in black and the actors have to wear white – were a bit of a struggle to control. But that is, of course, just part of the DP’s job.
Overall, it was a great experience since was the first time I had shot a movie of this kind, and I had the great pleasure of working with Stan Winston’s team, which helped me in a big way to achieve what we needed. ■
Main: Mike Vogel and Jaime Murray in The Deaths Of Ian; above l-r: Director Dario Piana; a scene from The Deaths Of Ian; Piana with producer Brian J. Gilbert and cinematographer Stefano Morcaldo; Mike Vogel (left) and Dario Piana (right) (photos Nick Wall)
Fujifilm Motion Picture • The Magazine • Exposure • 7
