Page 12 - Fujifilm Exposure_19 Spider_ok

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P&O CRUISES AGENCY: MILES CALCROFT BRIGINSHAW DUFFY P&O CRUISES PRODUCTION COMPANY: GORGEOUS
DP Peter Thwaites tells Anwar Brett “We were given a very simple brief on this, and the phrase that ran with it
was:- life doesn’t “
that attempt to evoke personal experi-
going across the deck, say, little details like that. It was just a question of try- ing to find those things and convey the idea that it really is a wonderful thing to do.
Actually it was quite fun to shoot (I used the Fuji F-64D and the F-250D daylight stock ) because we were on the cruise ship Oriana in the Mediterranean for four days filming it.
I was trying to show the ship in as little detail as possible, because the point was to put across the idea of it rather than the actual object. I was either doing big details in close ups, or so wide with the sun and clouds and stuff that you don’t see it as a ship.
There was no detailed script we had to stick to. We’d hunt around the edges of shots trying to find the one
that’s hidden and lurking there. Trying to avoid the clichéd, obvious things, which is actually not that easy when you’re on a cruise ship.
Directing and lighting at the same time was a bit of a novelty. I haven’t been too keen on lighting the things I’ve directed because I thought it might be rather tiring.
But on this there’s very little act- ing, it’s all about the image, so it
would have been counter pro- ductive to have somebody else.
So there I was just wandering around shooting bits and pieces as they turned up.” ■
”
get much better than this!”
EXPOSURE • 10
...then we just had to go and find some images to match that idea. What I wanted to do was try and evoke an emotion rather than a place, so that
person wearing it is asleep. Images like
ences rather than photographic illus- trations as it were.
If you can communicate the idea of someone half asleep under a straw hat, then that impression is far stronger in the way that it relates to the viewer on a more personal level than a shot of a cruise ship would.
It’s a perceptive interpretation and you have time lapse of the sun
you actually relate to it like that.
So for example, there are images seen from under a straw hat, as if the
DIRECTOR: PETER THWAITES