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250D 8662, said: “The reason why we used Fuji was basically because of our wish to have the reality ‘real’; it wasn’t about trying to make it look beautiful or attractive. In the begin- ning it was more an intuitive deci- sion, but tests confirmed certain ‘look’ expectations.
“We knew we could not afford any ‘special’ lab techniques and from the technical point of view, it was impor- tant for me to have as few stock changes as possible (in order to main
tain the similar texture of the film) and to alter it only by lenses and light.
“The Reala 500D is very good if you do not wish to think about fill light, because in principle you don’t need it. This stock can ‘see’ wonderfully in the shadow areas: all the detail is there.
“The photography in Kiss Of Life tries to be ‘transparent’, just following the emotions of characters in as sub- tle a way as possible,” Szepel added.
The film is dedicated to the memo- ry of British actress Katrin Cartlidge who was to have played Helen but died tragically in September 2002.
Said Young: “When Katrin died so soon before the shoot it was difficult to know where to turn to find anyone who could come close to her ability, pres- ence or spirit. I met many actresses in
a very short space of time and each of them would have made a different film. “In fact it was Peter Mullan who put it to me that Katrin had a unique-
ly unplaceable quality and didn’t seem particularly English. I had seen Burnt By The Sun and been quite bowled over by Ingeborga’s perform- ance. When I found out she had been living in London for 10 years I got in touch with her and we met. There was some worry about changing the nationality of the protagonist at such a late stage, but I had no problem with it. As it turned out, I added only one line of dialogue to introduce the fact that she was Lithuanian.”
After filming in a “timeless family house in “a fairly anonymous-seeming part of London”, Young, her crew and
Mullan headed off to locations in Croatia and Bosnia.
“Fantastic,” Young recalled. “The production team was wonderful, the landscape beautiful. It was a relief to get out of that house! There was a great cameraderie amongst us all which made it a really special experience.
“Because of what we were shoot- ing, where, and the fact that we had very little time, we had to be a lot more fluid and responsive in shoot- ing. It was more documentary-style which I love.” ■ QUENTIN FALK
Kiss Of Life, to be released in the UK on January 2, was originated on 35mm Fujicolor Reala 500D 8592,
35mm Fujicolor F-64D 8522 and 16mm Fujicolor F-250D 8662
Photos main l-r: Kiss Of Life Producer Gayle Griffiths with Writer/Director Emily Young; Inset left: Cinematographer Wojciech Szepel on location with Kiss Of Life stars,
Peter Mullan, Ingeborga Dapkunaite, David Warner, Millie Findlay and James Martin
Fuji Motion Picture And Professional Video • Exposure • 21