You work regularly with Alice Rohrwacher, whose films have a unique style. Does she prefer certain formats or mediums?
From her first film, Alice always shot on Super 16. On “Happy as Lazzaro,” “The Wonders,” and “Corpo Celeste,” I used the ARRIFLEX 416 with Kodak 7219 and 7205 film stocks. However, last year I shot two episodes of the series “My Brilliant Friend” with her, using the ALEXA Mini. It was the first time she had filmed in digital, and I think she realized that she could make the medium her own.
What is coming up for you?
Last summer I finished “Viens je t'emmène” (“Come, I Will Take You There”), directed by Alain Guiraudie. It's a winter film, with a lot of interiors and night scenes where I could control the light. I used an ALEXA Mini and Cooke S4 lenses. Previously, I shot Chloé Mazlo’s “Skies of Lebanon” in Super 16 with an ARRIFLEX 416. Most recently I have been in Greece, working with the American director Maggie Gyllenhaal on her feature debut: “The Lost Daughter,” adapted from the book by Elena Ferrante. We wanted to shoot in Super 16, but digital ultimately prevailed, so again I filmed with the ALEXA Mini and Cooke S4s.