Page 27 - Fujifilm Exposure_44 Damned United_ok

Photos left: William Hurt and below, Chiwetel Ejiorfor; and above (left to right): Director Pete Travis and a scene from Endgame
Years earlier, Odd had been a documentary cameraman secretly filming material in the country. That combined with his experience shoot- ing during the Miners’ Strike and Liv- erpool riots, would resonate again during some of the key township conflict sequences in Endgame.
“Pete used to give me a note: ‘Shoot it like you’d never be able to shoot it again, like it’s actually hap- pening. Everything was as near an accident as you could get. He loved just mixing the whole pot of paint and throwing it everywhere.”
BBC One’s Occupation, a three- part drama by Peter Bowker, traces the lives of three British soldiers from the invasion of Basra in 2003 to the present day. “It’s a story,” says Bowker, “about three men (played by James Nesbitt, Stephen Graham and Warren Brown) who are united in battle, but are torn apart by the aftermath.”
With Marrakech doubling for Iraq and Belfast for Manchester, director Nick Murphy desperately wanted to shoot on HD, of which he’s a devo- tee, but was successfully argued out of it by Odd.
“I thought,” Murphy would even- tually text Odd, “working with HD would give us more direct access to the drama and the filming mechan- ics would distance us less. I now think the opposite is true. I just don’t believe Occupation would con- tain the truthfulness it does without film.” Game, set and match.
QUENTIN FALK
Margaret, shown on the BBC in February, was originated on 35mm Fujicolor Reala 500D 8592; Endgame, to be aired May 4 on C4, was originated on 16mm Fujicolor ETERNA 250D 8663 and ETERNA Vivid 160T 8643; Occupation, transmission tbc, was originated on 16mm Fujicolor ETERNA 250D 8663 and ETERNA Vivid 160T 8643
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 25