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                                                   “I found the Fujifilm F-125T and F-250T very suited to Anazapta.
The cool exterior tones were faithfully rendered.”
around in almost every shot, we have none. But this helps the storyline as, in the script, all the crops have failed and the village is facing starvation. So to have half a dozen well fed animals in frame would have looked a bit odd.
Meux described the ‘look’ of the film: “Anazapta is a sombre, dark movie with almost every outdoor sequence conducted in pouring rain. I used a Wratten 81EF to lend a cool, miserable tone to those sequences.
“There are also some flashbacks of the Lord of the Manor fighting in France; these were shot with an Wratten 85B to give them a warmer tone and separate them from other flashbacks and hopeful- ly give the audience a visual clue as to the time and location of the shot.
“A third set of flashbacks set 20 years before in the story were shot with 45 degree shutter, again to separate them and give a distinct visual identity.
“I found the Fujifilm F-125T and F- 250T very suited to Anazapta. The cool exterior tones were faithfully rendered. And in the warm rich interiors with lots of candles, Fujifilm kept the highlights of the flames and still found detail in the shadows while also giving solid blacks.
“Fujifilm motion picture stock is a very easy and consistent stock to work with. After a day of stock tests, I knew what was going to be recorded, what would burn, and what would turn solid. With Soho Images delivering great rushes, I had a very comfortable working environment.
“And with the special effects depart- ment playing ice-cold fire hoses for rain effect over you all day long, it was one of the few comforts I had, shooting in Wales during February and May.”
Director Sciamma has generously described Meux as a “child genius” who “painted with light like nobody else before.” Meux returned the favour. “Anazapta was the second film on which I’ve worked with Alberto. I shot the 2nd unit on Killer Tongue and I was delighted and honoured to be asked to light Anazapta. I have since shot another film, Jericho Mansions, with him and hope to shoot more.
“I find his energy and creativity amaz- ing. He is always leading from the front, leaving the rest of us running in his wake just trying to keep up. He has encour- aged me and given me the opportunity to achieve things I never thought I would.
“With Harriet, he writes the scripts, gets producers involved and almost sin- gle-handedly gets the show on the road. A one-man film-making army, Alberto is the best director I have ever worked with.” ■ QUENTIN FALK
Anazapta, originated on Fujicolor F-125T and F-250T Motion Picture Negative, released by Guerilla Films in May
     Fuji Motion Picture And Professional Video • Exposure • 31
MOTION PICTURE & PRO-VIDEO awards & prizes

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