1
00:00:02,009 --> 00:00:06,339
[Music]

2
00:00:12,280 --> 00:00:13,920
I've never been a director who wants to

3
00:00:13,920 --> 00:00:16,920
put a personal stamp on a project based

4
00:00:16,920 --> 00:00:21,160
on uh a look or an aesthetic uh I've

5
00:00:21,160 --> 00:00:23,560
always thought of myself um you know

6
00:00:23,560 --> 00:00:27,519
more like a um I guess the way an actor

7
00:00:27,519 --> 00:00:29,519
understands a character tries to inhabit

8
00:00:29,519 --> 00:00:31,439
that character I want to understand the

9
00:00:31,439 --> 00:00:34,520
character of a movie and uh and sort of

10
00:00:34,520 --> 00:00:37,160
inhabit it as a director and try to

11
00:00:37,160 --> 00:00:40,160
fulfill the possibilities that I think

12
00:00:40,160 --> 00:00:43,320
are most appropriate now of

13
00:00:43,320 --> 00:00:47,039
course my personality my taste you know

14
00:00:47,039 --> 00:00:48,960
it's going to influence movies in

15
00:00:48,960 --> 00:00:52,600
similar ways and uh and you know I I I I

16
00:00:52,600 --> 00:00:55,879
try not to work in opposition of that

17
00:00:55,879 --> 00:00:59,079
but I like to try to to understand a

18
00:00:59,079 --> 00:01:02,120
movie and let it begin to talk to me I

19
00:01:02,120 --> 00:01:05,560
like to I like to begin to understand

20
00:01:05,560 --> 00:01:07,840
what's visually

21
00:01:07,840 --> 00:01:10,720
possible um and what would what would

22
00:01:10,720 --> 00:01:15,960
what would most um reflect I suppose the

23
00:01:15,960 --> 00:01:18,560
themes the story it it always keeps

24
00:01:18,560 --> 00:01:22,560
coming back to me to supporting those

25
00:01:22,560 --> 00:01:24,960
those ideas what's it about what's it

26
00:01:24,960 --> 00:01:27,920
trying to convey and you know and how is

27
00:01:27,920 --> 00:01:29,920
it supposed to to transport the audience

28
00:01:29,920 --> 00:01:32,079
audience how is it supposed to feel and

29
00:01:32,079 --> 00:01:35,079
then begin to understand what sort of

30
00:01:35,079 --> 00:01:38,040
visual style will enhance that how will

31
00:01:38,040 --> 00:01:40,079
it help us understand the characters how

32
00:01:40,079 --> 00:01:43,640
will it how will it help engage uh the

33
00:01:43,640 --> 00:01:45,920
audience um there's a kind of an ironic

34
00:01:45,920 --> 00:01:48,360
thing that happens that uh you know

35
00:01:48,360 --> 00:01:50,920
suddenly um you you you know you're

36
00:01:50,920 --> 00:01:53,520
going to you're going to hear a lot more

37
00:01:53,520 --> 00:01:56,520
um you know about that subject so uh now

38
00:01:56,520 --> 00:01:58,479
I'm thinking about becoming a doctor and

39
00:01:58,479 --> 00:02:00,759
suddenly there's a great docu mentary

40
00:02:00,759 --> 00:02:03,560
about you know what it means to be a you

41
00:02:03,560 --> 00:02:07,119
know an ER doctor and oh look at this I

42
00:02:07,119 --> 00:02:08,840
I I'm I'm really noticing that those

43
00:02:08,840 --> 00:02:10,720
people over at Starbucks you know

44
00:02:10,720 --> 00:02:12,520
they've got the their their nurses and I

45
00:02:12,520 --> 00:02:13,760
think I see a doctor over there and

46
00:02:13,760 --> 00:02:15,000
they're talking maybe I'll go up and

47
00:02:15,000 --> 00:02:16,480
discuss you know just talk to them about

48
00:02:16,480 --> 00:02:18,840
what med school they went to it's all

49
00:02:18,840 --> 00:02:22,200
boy this is amazing suddenly you know

50
00:02:22,200 --> 00:02:24,160
the the whole everywhere I look it's all

51
00:02:24,160 --> 00:02:26,640
about medicine and doctors well it's

52
00:02:26,640 --> 00:02:30,519
just that your antenna is tuned you know

53
00:02:30,519 --> 00:02:32,319
and my my my sense of this is that it's

54
00:02:32,319 --> 00:02:34,239
always that that information has always

55
00:02:34,239 --> 00:02:37,400
been there but now you've focused your

56
00:02:37,400 --> 00:02:39,640
train of thought I think as a

57
00:02:39,640 --> 00:02:42,040
director you have the opportunity to do

58
00:02:42,040 --> 00:02:45,239
the same thing to begin to focus on your

59
00:02:45,239 --> 00:02:49,319
subject and you'll be amazed how many

60
00:02:49,319 --> 00:02:53,239
ideas can start flooding your way and a

61
00:02:53,239 --> 00:02:56,560
lot of that comes to you as visual uh

62
00:02:56,560 --> 00:02:59,120
language and it's it's great to start

63
00:02:59,120 --> 00:03:01,920
taking notes you see a photograph pull

64
00:03:01,920 --> 00:03:05,239
it out well don't if if you can if you

65
00:03:05,239 --> 00:03:08,640
already own the magazine pull it out uh

66
00:03:08,640 --> 00:03:11,080
uh and collect it give yourself

67
00:03:11,080 --> 00:03:12,599
something to talk about to think about

68
00:03:12,599 --> 00:03:14,879
to dream about and just begin the

69
00:03:14,879 --> 00:03:17,799
process of understanding what that movie

70
00:03:17,799 --> 00:03:19,360
could be at least that's how I like to

71
00:03:19,360 --> 00:03:22,640
work um and uh you know I I I never have

72
00:03:22,640 --> 00:03:26,000
any interest in having uh you know a

73
00:03:26,000 --> 00:03:28,159
particular kind of shot that I always do

74
00:03:28,159 --> 00:03:30,239
to start the movie or end the movie or

75
00:03:30,239 --> 00:03:32,879
you know it's no signature no signatures

76
00:03:32,879 --> 00:03:37,439
like that for for me it's about you know

77
00:03:37,439 --> 00:03:40,560
a story finding its proper voice it's

78
00:03:40,560 --> 00:03:43,560
it's you know the it's its existence

79
00:03:43,560 --> 00:03:47,480
within the you know the medium of

80
00:03:51,319 --> 00:03:57,360
Cinema a lot of what we perceive in life

81
00:03:57,360 --> 00:04:00,480
has to do with light um

82
00:04:00,480 --> 00:04:02,439
bright uh

83
00:04:02,439 --> 00:04:06,319
shafts um Stark

84
00:04:06,319 --> 00:04:08,680
backlight um so that things are a little

85
00:04:08,680 --> 00:04:13,680
bit muddled uh distance um is is is is

86
00:04:13,680 --> 00:04:16,639
is often about a a you know the way the

87
00:04:16,639 --> 00:04:19,320
Optics work is H you you start to lose

88
00:04:19,320 --> 00:04:22,360
detail and you know you're not the the

89
00:04:22,360 --> 00:04:25,199
the light isn't registering with you on

90
00:04:25,199 --> 00:04:29,440
a distant um figure the way it does a uh

91
00:04:29,440 --> 00:04:32,400
you know a figure that's nearer to you

92
00:04:32,400 --> 00:04:35,720
and U so I've really come to to

93
00:04:35,720 --> 00:04:39,639
understand the power of lighting I think

94
00:04:39,639 --> 00:04:43,479
I grew a lot working with Roger deacons

95
00:04:43,479 --> 00:04:46,960
uh on beautiful mind he's a brilliant

96
00:04:46,960 --> 00:04:50,639
lighting uh DP he he doesn't even think

97
00:04:50,639 --> 00:04:52,479
he is or know he is and he suffers over

98
00:04:52,479 --> 00:04:56,280
it he's a very meticulous man um and his

99
00:04:56,280 --> 00:04:58,479
lighting isn't

100
00:04:58,479 --> 00:05:03,000
stylish but but it's so

101
00:05:03,000 --> 00:05:06,880
psychological and so much about evoking

102
00:05:06,880 --> 00:05:10,840
a feeling and um he he really

103
00:05:10,840 --> 00:05:13,199
understands how to make light um a

104
00:05:13,199 --> 00:05:15,919
character in a scene in a way that I I

105
00:05:15,919 --> 00:05:19,360
didn't really prior uh to to working

106
00:05:19,360 --> 00:05:21,680
with him and I really enjoyed that

107
00:05:21,680 --> 00:05:25,120
collaboration a lot of the

108
00:05:25,120 --> 00:05:28,639
um the warmth of the opening that's kind

109
00:05:28,639 --> 00:05:32,240
of enveloping and welcoming and it's

110
00:05:32,240 --> 00:05:35,560
subtly unreal it's a little too good to

111
00:05:35,560 --> 00:05:38,039
be true and it's the beginning of John

112
00:05:38,039 --> 00:05:41,160
Nash's Journey when we don't know that

113
00:05:41,160 --> 00:05:42,479
he's mentally ill we don't know that

114
00:05:42,479 --> 00:05:45,440
he's already delusional uh but you know

115
00:05:45,440 --> 00:05:48,720
he's full of Hope and angst and drive

116
00:05:48,720 --> 00:05:52,039
and ambition and U so even when it's not

117
00:05:52,039 --> 00:05:54,800
his point of view we created this pallet

118
00:05:54,800 --> 00:05:56,360
we kept calling it The Life Magazine

119
00:05:56,360 --> 00:05:59,400
look that was kind of not only nostalgic

120
00:05:59,400 --> 00:06:03,199
but it was also um it was also in a

121
00:06:03,199 --> 00:06:06,840
naturalistic way very beautiful and very

122
00:06:06,840 --> 00:06:10,319
um sort of inviting in a way um and that

123
00:06:10,319 --> 00:06:11,840
was the world that John wanted to be a

124
00:06:11,840 --> 00:06:13,800
part of he wanted to be in it and he

125
00:06:13,800 --> 00:06:16,560
imagined that he could be um and that

126
00:06:16,560 --> 00:06:18,880
was this you know world of Discovery and

127
00:06:18,880 --> 00:06:21,039
Academia and

128
00:06:21,039 --> 00:06:23,240
genius uh

129
00:06:23,240 --> 00:06:27,160
later shifting to the kind of the

130
00:06:27,160 --> 00:06:30,160
darkness the the the the the bright

131
00:06:30,160 --> 00:06:34,080
light and the Dark Shadows of the Cold

132
00:06:34,080 --> 00:06:36,599
War Noir section now that was that was

133
00:06:36,599 --> 00:06:39,840
my idea I knew I wanted to to move into

134
00:06:39,840 --> 00:06:41,639
something that was um a little bit

135
00:06:41,639 --> 00:06:45,599
artificial and spoke to um you know a

136
00:06:45,599 --> 00:06:48,319
sort of a reference of of uh what a

137
00:06:48,319 --> 00:06:50,759
mystery looks like uh what a cold war

138
00:06:50,759 --> 00:06:53,280
Thriller looks like but the way Roger

139
00:06:53,280 --> 00:06:56,879
deacons executed it was not you know

140
00:06:56,879 --> 00:06:59,000
over the top tongue and cheek it was

141
00:06:59,000 --> 00:07:00,319
still

142
00:07:00,319 --> 00:07:04,840
um it was subtle and and yet you know

143
00:07:04,840 --> 00:07:08,000
really brought a lot of uh intensity uh

144
00:07:08,000 --> 00:07:10,520
to that section and those scenes in in

145
00:07:10,520 --> 00:07:12,930
in a great

146
00:07:12,930 --> 00:07:16,069
[Music]

147
00:07:16,599 --> 00:07:18,560
way Don

148
00:07:18,560 --> 00:07:21,199
Peterman was also the first

149
00:07:21,199 --> 00:07:24,280
cinematographer who taught me to

150
00:07:24,280 --> 00:07:27,199
experiment with um

151
00:07:27,199 --> 00:07:30,080
mixing um you know know shooting

152
00:07:30,080 --> 00:07:33,400
modalities so that you'd you'd use in

153
00:07:33,400 --> 00:07:35,160
the same

154
00:07:35,160 --> 00:07:40,240
scene big wide lenses like a 14 see the

155
00:07:40,240 --> 00:07:42,520
whole room put the camera high or low on

156
00:07:42,520 --> 00:07:44,680
the ground almost like a Citizen Cane

157
00:07:44,680 --> 00:07:46,800
sort of shot even though Splash was a

158
00:07:46,800 --> 00:07:50,240
comedy you know make it visual um don't

159
00:07:50,240 --> 00:07:52,360
don't shoot it like a straightforward

160
00:07:52,360 --> 00:07:55,440
you know uh um sort of U you know

161
00:07:55,440 --> 00:07:57,759
everything done with a 50 mimer lens

162
00:07:57,759 --> 00:08:00,159
kind of a kind of a um you know U

163
00:08:00,159 --> 00:08:02,479
storytelling and then crash in with long

164
00:08:02,479 --> 00:08:04,639
lenses so there's no reason to sort of

165
00:08:04,639 --> 00:08:07,520
say this is a wide lens scene and or

166
00:08:07,520 --> 00:08:09,840
this is a long lens scene telephoto

167
00:08:09,840 --> 00:08:11,440
lenses do another thing you know they

168
00:08:11,440 --> 00:08:15,639
draw they compress images and um they're

169
00:08:15,639 --> 00:08:18,599
very beautiful uh in lighting situations

170
00:08:18,599 --> 00:08:21,039
great for for romances and things like

171
00:08:21,039 --> 00:08:24,319
that uh they soften um they they soften

172
00:08:24,319 --> 00:08:27,479
things um and uh very narrow depth of

173
00:08:27,479 --> 00:08:29,680
field they accomplish a lot they creat

174
00:08:29,680 --> 00:08:32,279
intimacy sometimes you know and I found

175
00:08:32,279 --> 00:08:34,959
that that idea of being able to go from

176
00:08:34,959 --> 00:08:38,399
Super wides into these long lenses that

177
00:08:38,399 --> 00:08:40,399
wasn't jarring wasn't jarring at all if

178
00:08:40,399 --> 00:08:41,800
it if it worked

179
00:08:41,800 --> 00:08:44,120
aesthetically um which you could sort of

180
00:08:44,120 --> 00:08:46,920
see in the set looking through

181
00:08:46,920 --> 00:08:48,920
viewfinders and things like that you

182
00:08:48,920 --> 00:08:51,720
could determine it then it would work

183
00:08:51,720 --> 00:08:54,160
and um so that was the first movie where

184
00:08:54,160 --> 00:08:56,360
I became um you know a little Freer

185
00:08:56,360 --> 00:08:59,839
about that I've now come to really look

186
00:08:59,839 --> 00:09:02,800
for opportunities where I can shoot a

187
00:09:02,800 --> 00:09:06,240
scene with wides long lenses and crash

188
00:09:06,240 --> 00:09:08,839
in handheld all on the same scene did a

189
00:09:08,839 --> 00:09:12,279
lot of that in Frost Nixon uh did uh

190
00:09:12,279 --> 00:09:15,880
quite a bit of that in Rush um and uh

191
00:09:15,880 --> 00:09:17,760
and I find it there's something about it

192
00:09:17,760 --> 00:09:20,399
that's um a little energizing because

193
00:09:20,399 --> 00:09:23,440
you the wide lenses give you an

194
00:09:23,440 --> 00:09:25,640
interesting graphic sense so it's not

195
00:09:25,640 --> 00:09:28,240
just that you see a lot you see it in a

196
00:09:28,240 --> 00:09:30,920
particular way that is kind of um

197
00:09:30,920 --> 00:09:33,240
intriguing uh often if the composition

198
00:09:33,240 --> 00:09:36,200
is strong uh and then crash in with a

199
00:09:36,200 --> 00:09:38,640
handheld and suddenly it's it's almost

200
00:09:38,640 --> 00:09:40,839
like you as an audience member you know

201
00:09:40,839 --> 00:09:43,519
have Sly thrown yourself into the scene

202
00:09:43,519 --> 00:09:45,160
and you're into the into the world of

203
00:09:45,160 --> 00:09:49,760
those characters um and um you know you

204
00:09:49,760 --> 00:09:55,800
begin to learn the the grammar of

205
00:09:55,800 --> 00:09:58,200
Photography and what it can mean and

206
00:09:58,200 --> 00:10:00,240
what it says and it becomes almost

207
00:10:00,240 --> 00:10:02,800
second nature cinematographers have

208
00:10:02,800 --> 00:10:03,820
taught me

209
00:10:03,820 --> 00:10:08,349
[Music]

210
00:10:08,560 --> 00:10:11,640
that I've done a number of projects with

211
00:10:11,640 --> 00:10:16,680
Salvador doino he's um he's so um

212
00:10:16,680 --> 00:10:19,480
diverse not only do I like him very much

213
00:10:19,480 --> 00:10:21,399
uh as a friend not only is he an

214
00:10:21,399 --> 00:10:24,120
incredibly hard worker but he also has

215
00:10:24,120 --> 00:10:27,440
tremendous range and great taste um and

216
00:10:27,440 --> 00:10:30,160
uh um with with

217
00:10:30,160 --> 00:10:31,200
with

218
00:10:31,200 --> 00:10:35,639
S I began to appreciate the power of of

219
00:10:35,639 --> 00:10:39,880
uh of strong blacks

220
00:10:39,880 --> 00:10:43,839
Darkness with more focused light you

221
00:10:43,839 --> 00:10:45,560
know so it's it's not so much about

222
00:10:45,560 --> 00:10:47,120
lighting whole Figures it's about

223
00:10:47,120 --> 00:10:49,800
lighting the face in a particular way in

224
00:10:49,800 --> 00:10:54,000
a naturalistic way but rooms and spaces

225
00:10:54,000 --> 00:10:57,839
not feeling like they're broadly lit um

226
00:10:57,839 --> 00:11:01,600
and it it gives um a kind of an intimacy

227
00:11:01,600 --> 00:11:05,519
and a focus on the characters and uh s

228
00:11:05,519 --> 00:11:06,959
is very

229
00:11:06,959 --> 00:11:10,120
Soulful um very emotional and very

230
00:11:10,120 --> 00:11:11,880
connected to what the characters are

231
00:11:11,880 --> 00:11:13,360
doing so even though Salvatore is a

232
00:11:13,360 --> 00:11:17,240
great visualist he is is is never trying

233
00:11:17,240 --> 00:11:21,200
to create a showy image or a cool image

234
00:11:21,200 --> 00:11:23,480
he what he really wants to do is

235
00:11:23,480 --> 00:11:24,880
understand you know what what the

236
00:11:24,880 --> 00:11:26,279
scene's about what the character is

237
00:11:26,279 --> 00:11:28,800
going through with Sal Totino I began to

238
00:11:28,800 --> 00:11:32,320
understand more about mixing the medium

239
00:11:32,320 --> 00:11:35,760
more about uh working with various

240
00:11:35,760 --> 00:11:39,760
lenses um not just lens sizes but um you

241
00:11:39,760 --> 00:11:43,000
know from different generations and uh

242
00:11:43,000 --> 00:11:46,320
uh very interesting on a subtle level to

243
00:11:46,320 --> 00:11:50,920
to understand um the the the the the way

244
00:11:50,920 --> 00:11:53,279
different different lenses can sort of

245
00:11:53,279 --> 00:11:56,079
communicate to you and it's subliminal

246
00:11:56,079 --> 00:11:57,920
but as an audience member because we're

247
00:11:57,920 --> 00:12:00,160
all sort of trained to watch

248
00:12:00,160 --> 00:12:02,880
um a screen even if it's your iPhone

249
00:12:02,880 --> 00:12:07,519
it's you know there's a the certain um

250
00:12:07,519 --> 00:12:09,320
um certain textures just give you

251
00:12:09,320 --> 00:12:11,600
certain

252
00:12:15,320 --> 00:12:17,680
feelings another little

253
00:12:17,680 --> 00:12:20,600
trick that I've come to use and

254
00:12:20,600 --> 00:12:23,680
sometimes I just you know I use my phone

255
00:12:23,680 --> 00:12:27,279
but I I used to use my you know just a

256
00:12:27,279 --> 00:12:30,040
home movie camera video camera or Super

257
00:12:30,040 --> 00:12:33,639
Eight even is to even if you're not the

258
00:12:33,639 --> 00:12:35,000
cinematographer you're not going to

259
00:12:35,000 --> 00:12:38,839
shoot it is to while the actors are

260
00:12:38,839 --> 00:12:41,360
rehearsing is to you know begin to

261
00:12:41,360 --> 00:12:43,519
experiment with some little camera moves

262
00:12:43,519 --> 00:12:46,440
begin to just play and and it doesn't

263
00:12:46,440 --> 00:12:50,480
cost anything and it's uh you begin to

264
00:12:50,480 --> 00:12:53,040
sort of see that you know a particular

265
00:12:53,040 --> 00:12:55,440
particular feel just it just does

266
00:12:55,440 --> 00:12:59,839
something the the other thing that

267
00:12:59,839 --> 00:13:03,120
really exciting right now is what

268
00:13:03,120 --> 00:13:07,760
technology is giving us um and it's

269
00:13:07,760 --> 00:13:09,839
there's a there's a new grammar that's

270
00:13:09,839 --> 00:13:14,040
just evolving constantly and um a lot of

271
00:13:14,040 --> 00:13:18,480
it exists on YouTube and um I got to

272
00:13:18,480 --> 00:13:20,480
give credit where credits due I was

273
00:13:20,480 --> 00:13:22,760
talking to David Fincher who's somebody

274
00:13:22,760 --> 00:13:24,160
that I just know we're not we're not

275
00:13:24,160 --> 00:13:26,120
great Pals but we see each other here

276
00:13:26,120 --> 00:13:28,920
and there and I was talking to him about

277
00:13:28,920 --> 00:13:29,800
uh

278
00:13:29,800 --> 00:13:32,079
um something asking a question and he

279
00:13:32,079 --> 00:13:34,760
said uh look it up on

280
00:13:34,760 --> 00:13:36,959
YouTube and said what do you mean he

281
00:13:36,959 --> 00:13:41,480
said well just in any word any any

282
00:13:41,480 --> 00:13:43,199
subject any question you might have as

283
00:13:43,199 --> 00:13:45,560
it relates to your film just type it in

284
00:13:45,560 --> 00:13:48,480
because out there in the world there are

285
00:13:48,480 --> 00:13:51,079
there are people with really interesting

286
00:13:51,079 --> 00:13:54,639
um visual sensibilities unlike yours and

287
00:13:54,639 --> 00:13:56,160
they have they have more time they're

288
00:13:56,160 --> 00:13:58,759
hobbyists they're playing and through

289
00:13:58,759 --> 00:14:01,600
that Freedom they're they're expressing

290
00:14:01,600 --> 00:14:04,759
a lot of a lot of interesting ideas in

291
00:14:04,759 --> 00:14:08,720
really original ways

292
00:14:08,800 --> 00:14:10,920
well I didn't know much about car

293
00:14:10,920 --> 00:14:15,120
engines and I was working on uh rush and

294
00:14:15,120 --> 00:14:17,600
I I wanted the the engine to somehow be

295
00:14:17,600 --> 00:14:19,079
a kind of a character and I didn't

296
00:14:19,079 --> 00:14:20,600
really know what that meant or what it

297
00:14:20,600 --> 00:14:24,880
looked like and I typed in Formula 1

298
00:14:24,880 --> 00:14:27,320
engines and I started to see some macro

299
00:14:27,320 --> 00:14:29,839
photography of engines and Ultra slow

300
00:14:29,839 --> 00:14:31,720
motion and then I finally saw this one

301
00:14:31,720 --> 00:14:34,759
shot of a you know of a piston slamming

302
00:14:34,759 --> 00:14:38,920
down and sort of exploding and um and I

303
00:14:38,920 --> 00:14:42,199
thought oh my gosh that's fantastic

304
00:14:42,199 --> 00:14:44,560
there's a key turning point where James

305
00:14:44,560 --> 00:14:47,279
Hunt is beginning to really get his Mojo

306
00:14:47,279 --> 00:14:48,560
and he's literally I always kind of

307
00:14:48,560 --> 00:14:51,079
think well now he's kind of on fire he's

308
00:14:51,079 --> 00:14:53,279
hitting on all cylinders look at all of

309
00:14:53,279 --> 00:14:56,880
these cliches that are all exist in this

310
00:14:56,880 --> 00:14:59,880
image that I just saw on YouTube so I

311
00:14:59,880 --> 00:15:01,680
borrowed David Fincher's advice I'm

312
00:15:01,680 --> 00:15:04,040
passing it along to anybody uh who's

313
00:15:04,040 --> 00:15:07,399
interested it is another great research

314
00:15:07,399 --> 00:15:11,600
Tool uh and and it is a

315
00:15:11,600 --> 00:15:14,800
reminder that there there is a new kind

316
00:15:14,800 --> 00:15:18,279
of a grammar it doesn't mean that the

317
00:15:18,279 --> 00:15:21,440
old classic ideas don't have tremendous

318
00:15:21,440 --> 00:15:25,399
power but smaller cameras less planned

319
00:15:25,399 --> 00:15:27,720
looking more spontaneous kind of uh

320
00:15:27,720 --> 00:15:30,720
imagery uh sort of cutting patterns

321
00:15:30,720 --> 00:15:33,319
these things are all there to be seen

322
00:15:33,319 --> 00:15:35,600
and and understood and you know

323
00:15:35,600 --> 00:15:38,240
evaluated as it relates to a project

324
00:15:38,240 --> 00:15:40,240
that you planning to make in a very

325
00:15:40,240 --> 00:15:43,519
organized planned

326
00:15:43,920 --> 00:15:47,080
[Music]

327
00:15:47,240 --> 00:15:50,680
way I've worked twice with Anthony DOD

328
00:15:50,680 --> 00:15:53,680
manle rush and in the heart of the sea

329
00:15:53,680 --> 00:15:56,319
two very very different kinds of movies

330
00:15:56,319 --> 00:16:00,480
but there is something

331
00:16:00,480 --> 00:16:02,000
so

332
00:16:02,000 --> 00:16:06,560
spontaneous and and um and and um and

333
00:16:06,560 --> 00:16:08,399
and kind of

334
00:16:08,399 --> 00:16:10,720
chaotic uh he he did Slum Dog

335
00:16:10,720 --> 00:16:12,639
Millionaire and 28 Days Later among

336
00:16:12,639 --> 00:16:16,600
other great movies and uh uh and he's

337
00:16:16,600 --> 00:16:19,319
he's he comes out of documentaries uh

338
00:16:19,319 --> 00:16:20,480
and he's he's really the first

339
00:16:20,480 --> 00:16:21,880
cinematographer I worked with who was

340
00:16:21,880 --> 00:16:24,040
first and foremost initially a

341
00:16:24,040 --> 00:16:27,000
documentary director and and

342
00:16:27,000 --> 00:16:30,440
cinematographer and very exciting uh to

343
00:16:30,440 --> 00:16:32,440
work with Anthony I remember having a

344
00:16:32,440 --> 00:16:34,040
great conversation with Anthony who I

345
00:16:34,040 --> 00:16:36,440
didn't know well but I was I was um

346
00:16:36,440 --> 00:16:38,120
interested in him shooting rush and I'd

347
00:16:38,120 --> 00:16:41,079
been following his career for a while

348
00:16:41,079 --> 00:16:43,920
and he talked

349
00:16:43,920 --> 00:16:46,519
about he talked about the difference

350
00:16:46,519 --> 00:16:50,000
between lighting conditions in the

351
00:16:50,000 --> 00:16:52,319
Formula 1 circuit that there's

352
00:16:52,319 --> 00:16:54,480
everything from the the hot sun of South

353
00:16:54,480 --> 00:16:59,160
Africa to you know the fog and the

354
00:16:59,160 --> 00:17:02,560
dampness of of racing in you know in

355
00:17:02,560 --> 00:17:05,559
London uh or or northern Europe he

356
00:17:05,559 --> 00:17:09,000
talked a lot about the cars and the

357
00:17:09,000 --> 00:17:13,959
sexuality of that time and um and and um

358
00:17:13,959 --> 00:17:17,079
the sort of the body language of those

359
00:17:17,079 --> 00:17:20,480
Racers and um and and the sort of sexual

360
00:17:20,480 --> 00:17:24,919
energy of Formula 1 and I was thinking

361
00:17:24,919 --> 00:17:27,959
along those lines but I didn't know how

362
00:17:27,959 --> 00:17:29,360
to articulate it

363
00:17:29,360 --> 00:17:31,799
and so that became very exciting to me

364
00:17:31,799 --> 00:17:34,760
and then I said I know you've done a lot

365
00:17:34,760 --> 00:17:35,600
of

366
00:17:35,600 --> 00:17:40,160
documentaries um I uh I keep

367
00:17:40,160 --> 00:17:43,200
feeling when I look at footage from the

368
00:17:43,200 --> 00:17:45,480
era that I'd like this to not

369
00:17:45,480 --> 00:17:47,480
necessarily be like a documentary about

370
00:17:47,480 --> 00:17:51,039
Formula 1 racing but more like a a music

371
00:17:51,039 --> 00:17:53,840
documentary more like Gimme Shelter so

372
00:17:53,840 --> 00:17:55,919
you know like a great music documentary

373
00:17:55,919 --> 00:18:00,400
from the 60s uh yes sexy but um but you

374
00:18:00,400 --> 00:18:03,159
know a little bit uh unplanned

375
00:18:03,159 --> 00:18:05,799
spontaneous uh and he got very very

376
00:18:05,799 --> 00:18:08,520
excited about that and it it's the first

377
00:18:08,520 --> 00:18:11,559
movie that I've really approached in in

378
00:18:11,559 --> 00:18:14,960
that way uh and we had to work very very

379
00:18:14,960 --> 00:18:18,400
quickly and that that sort of um uh

380
00:18:18,400 --> 00:18:21,000
style of of working is actually very

381
00:18:21,000 --> 00:18:24,720
efficient uh and it really exploits the

382
00:18:24,720 --> 00:18:27,840
moment Anthony DOD manle coming out of

383
00:18:27,840 --> 00:18:30,919
documentaries and lowbudget film making

384
00:18:30,919 --> 00:18:34,640
he's brilliant at looking at the sky

385
00:18:34,640 --> 00:18:37,440
looking at the set looking at the actors

386
00:18:37,440 --> 00:18:39,360
understanding what it is you as the

387
00:18:39,360 --> 00:18:42,840
Director is trying to accomplish and

388
00:18:42,840 --> 00:18:45,360
saying simply if you could move them

389
00:18:45,360 --> 00:18:48,159
over here you know I can shoot this in

390
00:18:48,159 --> 00:18:50,120
five minutes from now we don't have to

391
00:18:50,120 --> 00:18:51,679
light at all and it's going to be

392
00:18:51,679 --> 00:18:54,240
beautiful but you have to you have to

393
00:18:54,240 --> 00:18:55,720
recalibrate your thinking a little bit

394
00:18:55,720 --> 00:18:57,679
can you make it work over here cuz then

395
00:18:57,679 --> 00:18:59,240
you if we do it'll be great

396
00:18:59,240 --> 00:19:01,960
and I I really learned to sort of go

397
00:19:01,960 --> 00:19:04,400
with that because it was it allowed us

398
00:19:04,400 --> 00:19:06,480
to work at a faster pace and still get a

399
00:19:06,480 --> 00:19:10,760
great look and I I realized that

400
00:19:10,760 --> 00:19:12,679
European DPS in

401
00:19:12,679 --> 00:19:14,600
particular you know they they never

402
00:19:14,600 --> 00:19:17,960
really have the the money or the tools

403
00:19:17,960 --> 00:19:20,960
to try to control the light they have to

404
00:19:20,960 --> 00:19:23,559
work with it and there's something very

405
00:19:23,559 --> 00:19:27,080
interesting and fluid and creative about

406
00:19:27,080 --> 00:19:29,679
that and I found it uh very stimulating

407
00:19:29,679 --> 00:19:30,880
and I hope that's something that I

408
00:19:30,880 --> 00:19:32,880
continue to carry with me throughout my

409
00:19:32,880 --> 00:19:35,880
career