Cannes 2015 video interviews with DPs
ARRI continued its annual presence at the Cannes Film Festival this year, strengthening its partnership with Director's Fortnight and hosting social events that brought together cinematographers, directors and producers from all over the world. At the beachside ARRI hospitality space, five cinematographers spoke on camera about the films they had in competition and about their experiences working with ALEXA on those productions. Overall, more than half of the festival's films that were shot digitally used ALEXA as their main camera.
DP Carolina Costa speaks to ARRI at the 2015 Cannes Film Festival about her work on LAS ELEGIDAS (THE CHOSEN ONES), which was captured in ARRIRAW with ALEXA. This interview was captured with AMIRA, ARRI's documentary-style camera.
Directed by David Pablos, LAS ELEGIDAS (THE CHOSEN ONES) was shot in six weeks on a budget of $1.3m and examines the shady world of child prostitution in Mexico. "The look for it we called stylized documentary," says DP Carolina Costa. "For me it was a very clear decision... [to] shoot with the ALEXA; I had no doubts about that." She adds, "We decided to go with ARRIRAW...it was very important for me to have the flexibility in post. I knew I wanted to play a lot with the bottom part of the curve and I wanted to have that latitude...I had five days to do the color correction, which is insanity for a feature film, but because we had already developed that look on set...it gave us a good base to start."
DP Joshua Richards speaks to ARRI at the 2015 Cannes Film Festival about his work on SONGS MY BROTHERS TAUGHT ME, which was captured with ALEXA. This interview was captured with AMIRA, ARRI's documentary-style camera.
A bold and visually arresting story about the lives of young Lakota people on a South Dakota Indian reservation, SONGS MY BROTHERS TAUGHT ME is the debut feature of director Chloé Zhao. "A lot of limitations dictated the look of the film, but limitations are our friend," says DP Joshua Richards. "I think this film is a perfect example of what the ALEXA is capable of in this kind of situation. We were shooting with non-actors and Chloe wanted to move very quickly, with very few takes and in so many different kinds of terrain and so many different light situations...I can't think of any other way this movie could be made and achieve images that are still cinematic...than on the ALEXA."
Legendary DP Roger Deakins speaks to ARRI at the 2015 Cannes Film Festival about his work on SICARIO, which was captured with ALEXA in Open Gate mode. This interview was captured with AMIRA, ARRI's documentary-style camera.
Roger Deakins, ASC, BSC, CBE
Re-teaming with director Denis Villeneuve, with whom he worked on PRISONERS, Roger Deakins chose ALEXA for drugs war crime-thriller SICARIO, just as he has for every digital film he has shot to date. "I think the ALEXA at the moment is the best camera out there," says Deakins. "We shot Open Gate...only a few months previously I heard that there was this opportunity to use more of the sensor and get slightly higher resolution, but it was good...it helps a lot, especially on the wide day exteriors...you do notice that slight extra quality and you notice it in the face as well, frankly. I think the detail in a face is just slightly enhanced."
Chinese DP Yu Lik-wai speaks to ARRI at the 2015 Cannes Film Festival about his work on MOUNTAINS MAY DEPART, which was captured with ALEXA in combination with Ultra Prime and Master Anamorphic lenses. This interview was captured with AMIRA, ARRI's documentary-style camera.
Speaking about Chinese director Jia Zhangke's approach to his ambitious drama film MOUNTAINS MAY DEPART, DP Yu Lik-wai notes, "There would be three [time] periods and he really wanted to express this feeling of history...he had this idea to shoot it in three different formats: 1.33:1, 1.85:1 and 2.39:1." Lik-wai goes on, "In terms of camera we used most of the time the [ALEXA] Studio, for some very extreme situations like maybe in a train...we used the [ALEXA] M for its size. For lenses we used Ultra Primes for the first two parts and for the last part, Master Anamorphics...I was very surprised by the size and the aperture, because it opens to T1.9, which is not comparable to older lenses."
DP Arnaud Potier speaks to ARRI at the 2015 Cannes Film Festival about his work on LES COWBOYS, which was captured in ARRIRAW with ALEXA. This interview was captured with AMIRA, ARRI's documentary-style camera.
Chronicling the search for a missing daughter by members of the country & western community in France, LES COWOYS is the directorial debut of screenwriter Thomas Bidegain. "I shoot all my movies in ALEXA; I can't work with any other camera," says DP Arnaud Potier. "And for Thomas...who at first wanted to shoot in 35 mm, it was great to see the image and to talk about the light." He adds, "We thought that shooting in anamorphic without ARRIRAW was like a ham sandwich without butter...it would have been a pity, and you get much more latitude later in grading. It was crucial, since we were shooting with vintage lenses...it was great to gain some extra sharpness thanks to the ARRIRAW."
SUP 4.3.23 for ARRI WVS >>
ALEXA SXT SUP 2.0 >>
Screening Room >>