ARRI video interviews with DPs at Cannes

ARRI speaks with five talented cinematographers about the movies they have in competition at the 2014 Cannes Film Festival, all of which -- in common with more than 60% of feature films in the official selections -- were shot with ARRI cameras. The following video interviews were all captured with AMIRA, ARRI's documentary-style camera.

Javier Julià, ADF, at Cannes 2014

DP Javier Julià, ADF, speaks to ARRI at the 2014 Cannes Film Festival about his work on WILD TALES, which was captured in ProRes 4444 with ALEXA. This interview was captured with AMIRA, ARRI's documentary-style camera.

This interview was captured with AMIRA, ARRI’s documentary-style camera.

Javier Julià, ADF

Vulnerable in the face of a reality that shifts and suddenly turns unpredictable, the characters of WILD TALES cross the thin line that divides civilization and barbarism. Damian Szifron's dynamic, exhilarating film was selected in the main competition at Cannes and was captured with ALEXA by Javier Julià ADF, who comments, "I have been using ALEXA for the last two years on many commercials, and I know what it can do... ALEXA gives me more freedom to work and to think about other things in the movie."

Sofian El Fani at Cannes 2014

DP Sofian El Fani speaks to ARRI at the 2014 Cannes Film Festival about working with ALEXA on TIMBUKTU, which was selected for the main competition. Sofian shot 2013's Palme d’Or winner, BLUE IS THE WARMEST COLOR.

This interview was captured with AMIRA, ARRI’s documentary-style camera.

Sofian El Fani 

Sofian El Fani speaks about working with ALEXA on TIMBUKTU, directed by Abderrahmane Sissako, which was selected for the main competition at Cannes. The film examines the harrowing injustices imposed on the lives of a simple, country-dwelling family when they fall foul of jihadists who have taken over their local town. Sofian, who shot 2013's Palme d'Or winner, BLUE IS THE WARMEST COLOR, explains that he chose ALEXA "for the robustness of the camera. We were shooting in Mauritania, two days' travel from the capital and the airport...it was the hot season, with sand winds...I didn't want to be let down by the gear...with ALEXA I feel a lot safer."

DP André Turpin at Cannes 2014

DP André Turpin speaks to ARRI at the 2014 Cannes Film Festival about MOMMY, which was awarded a Jury Prize in the main competition (tied with Jean-Luc Godard's GOODBYE TO LANGUAGE). Turpin shot the film with ARRICAM cameras and Master Prime lenses.

This interview was captured with AMIRA, ARRI’s documentary-style camera.

André Turpin

In 25-year-old Canadian director Xavier Dolan's MOMMY, a feisty single mother finds herself burdened with the full-time custody of her rambunctious 15-year-old ADHD son. The film, which was awarded a Jury Prize in the main competition at Cannes (tied with Jean-Luc Godard's GOODBYE TO LANGUAGE), was shot by André Turpin with ARRICAM cameras and Master Prime lenses. Turpin notes, "I like very sharp, crunchy, crispy images...the more I do films the more I like simple, naturalistic images of quality...the Master Primes give me extreme quality images. They don't flare badly, they're all identical...I have confidence when I bring them to T1.3."

DP Marcell Rèv at Cannes 2014

DP Marcell Rèv speaks to ARRI at the 2014 Cannes Film Festival about WHITE GOD, which won Best Film in the Un Certain Regard category. Rèv shot the film in ProRes 2K with ALEXA M cameras.

This interview was captured with AMIRA, ARRI’s documentary-style camera.

Marcell Rèv

Marcell Rèv speaks about his work on Kornél Mundruczó's canine-themed WHITE GOD, which won Best Film in the Un Certain Regard category at Cannes. Rèv shot the film in ProRes 2K with ALEXA M and ALEXA Plus cameras, commenting, "We shot almost the whole film from the shoulder...one of the main characters is a dog so we needed to have a flexible kind of shooting method...I tested the ALEXA M and for the eye-line of the dog I think it was a good choice. So our main camera was the ALEXA M, which is not really usual I think, and for B and C camera we had normal ALEXAs."

Crystel Fournier, AFC, at Cannes 2014

DP Crystel Fournier, AFC, speaks to ARRI at the 2014 Cannes Film Festival about shooting GIRLHOOD in ProRes 2K with an ALEXA Plus 4:3 and Hawk anamorphic lenses.

This interview was captured with AMIRA, ARRI’s documentary-style camera.

Crystel Fournier, AFC

Crystel Fournier, AFC, shot Céline Sciamma's feature film GIRLHOOD, which was entered in the Director's Fortnight at Cannes and tells the story of a young black girl who drops out of school as she struggles to find her own identity and the acceptance of her peers. Fournier recorded ProRes 2K with ALEXA Plus 4:3 cameras and Hawk Anamorphic lenses, and notes, "I've done several films with ALEXA and I love it for a number of reasons...I very much like the ALEXA ergonomics. It's very well balanced; it's very easy to use."