Cannes 2016 DP video interviews
At the beach-side pavilion of the Director's Fortnight at Cannes 2016, where ARRI hosts its annual cocktail event, cinematographers who came by to say hello were sat down for a quick video interview about how they had used ARRI technology on the films they had in competition this year.
Cinematographer Nicolas Bolduc CSC speaks with ARRI at the 69th Cannes Film Festival about shooting Kim Nguyen’s film TWO LOVERS AND A BEAR with ALEXA in freezing conditions in Canada. Photos courtesy of Max Films / Philippe Bosse.
TWO LOVERS AND A BEAR
Kim Nguyen's film TWO LOVERS AND A BEAR was in the Director's Fortnight selection at Cannes; it follows the lives of a man and a woman living difficult lives in a frozen Canadian town. Cinematographer Nicolas Bolduc CSC captured with ALEXA and comments, "There was one major thing about the film that Kim really wanted to explore, which was to try to create a balance between the beauty of the nature, the beauty of the environment we were shooting in, and also the sort of trashy environment that people actually live in when they're in the cities...The truth is the ALEXA was the best tool we could ever have because even at -40°C we never covered the camera...it never broke down, it never stopped...the human beings had more problems than the camera did, actually."
Cinematographer Vladan Radovic AIC speaks with ARRI at the 69th Cannes Film Festival about working on director Paolo Virzì's new comedy drama film LIKE CRAZY (LA PAZZA GIOIA), which was captured with ALEXA. Photos coutesy of Paolo Ciriello.
LIKE CRAZY (LA PAZZA GIOIA)
Telling the story of two women who abscond from a mental health clinic in Tuscany, Paolo Virzì's LIKE CRAZY (LA PAZZA GIOIA) was in the Director's Fortnight selection at Cannes. Cinematographer Vladan Radovic AIC shot the whole film handheld with ALEXA and also used ARRI SkyPanel LED panels. He says, "I grew up with film stock and when I changed to ALEXA I was a little bit scared about whether I'd be able to do everything I did with film, but ALEXA and ARRIRAW really give me that kind of possibility, to do whatever I want to do...Many times the mood changes inside a scene...I would change the color of the light during the shooting; I follow the actors with a warm light and then at the right moment I change the color of light and continue the scene...I used the ARRI panel where you can change the color temperature."
Cinematographer Guillaume Deffontaines AFC speaks with ARRI at the 69th Cannes Film Festival about working with ALEXA cameras and ARRI/ZEISS Master Anamorphic lenses on Bruno Dumont’s film SLACK BAY (MA LOUTE). Photos courtesy of Roger Arpajou.
SLACK BAY (MA LOUTE)
Selected for the main competition at Cannes, Bruno Dumont's SLACK BAY (MA LOUTE) is a comedy set on the French coast in 1910. Cinematographer Guillaume Deffontaines AFC, who worked with ALEXA cameras and ARRI/ZEISS Master Anamorphic lenses, comments, "We found these Autochromes from the Lumière brothers, that were invented in approximately 1908, and these photographs, in color, were really the key thing in terms of look...I pushed the [ALEXA] camera to its limit, it was nearly 2,000 ASA...to have a sort of natural grain that would come out of the camera and that would help us avoid even using grain in post...I used the Master Anamorphics at T2 and I noticed that all the backgrounds, even in wide shots, were going out of focus, and all these little details were close to this effect we had in the Autochromes."
Cinematographer Natasha Braier ADF speaks with ARRI at the 69th Cannes Film Festival about her experiences capturing with ALEXA on Nicolas Winding Refn’s new film NEON DEMON. Photos courtesy of Gunther Campine.
THE NEON DEMON
A stylish thriller-horror set in the world of fashion, Nicolas Winding Refn's THE NEON DEMON was in the main competition at Cannes. Cinematographer Natasha Braier ADF captured with ALEXA and says, "It was my first movie to be shot on digital, so it was kind of scary for me, because even though I had done a lot of commercials, until then all my movies had been on film...of course for me there was no doubt that if I was going digital then it was going to be ALEXA. From my experience with digital in commercials and music videos, I knew that ALEXA would be the camera that would look more the way I used to work with film, and that it would be the friendlier one for skin tones, to get these porcelain skin tones on the girls, so there was no doubt that it would be the camera."
Cinematographer Sébastien Godefroy speaks with ARRI at the 69th Cannes Film Festival about shooting Sébastien Betbeder’s feature film LE VOYAGE AU GROENLAND with AMIRA and ARRI/ZEISS Ultra Prime lenses. Photos courtesy of Envie de Tempête Production.
LE VOYAGE AU GROENLAND
Sébastien Betbeder's feature film about two actors who journey to Greenland, LE VOYAGE AU GROENLAND, was in the ACID selection at Cannes. For the tough location shoot, cinematographer Sébastien Godefroy chose an AMIRA camera and ARRI/ZEISS Ultra Prime lenses. He notes, "The movie has two different filming methods -- one in the cinema style, with a tripod -- no dollies, just stable images; and the other a more documentary filming style, with a handheld camera. Two styles bouncing off each other, in a way. We did some advanced tests. We took the AMIRA to a frozen food manufacturer and asked if we could test it in their cold rooms. They had cold rooms at -27°C. We tested for a whole day and not only did the camera run, it could also start and stop correctly. For me, it was quite impressive."
Cinematographer Michael Zaw speaks with ARRI at the 69th Cannes Film Festival about using ALEXA to help create a documentary look on K Rajagopal’s feature film A YELLOW BIRD
A YELLOW BIRD
K Rajagopal's debut feature A YELLOW BIRD, which follows a smuggler after his release from prison in Singapore, was in the Critics' Week selection at Cannes. Cinematographer Michael Zaw used ALEXA to help create a documentary look, commenting: "I worked with [the director] on a lot of documentaries before this film...so that gave me an environment, an idea, of how I could do this film...the look that we decided on was a bit darker -- you have to be intense and you always have to be supporting the story...grittiness would be the word I think. We wanted to look for a better camera, that would give me confidence in low light situations...I was lucky that I could use the ALEXA."
Cinematographers Pedro Sotero and Fabricio Tadeu speak with ARRI at the 69th Cannes Film Festival about their work on Kleber Mendonça Filho’s film AQUARIUS, which they shot with ALEXA XT cameras. Photos courtesy of Victor Juca / Cinemascopi / SBS Productions.
Following an ageing music critic's fight against developer's looking to demolish her apartment block, Kleber Mendonça Filho's film AQUARIUS was in the main competition at Cannes. Cinematographers Pedro Sotero and Fabricio Tadeu chose ALEXA XT cameras, with Sotero saying, "Budget-wise and practically speaking it was not possible to shoot on film, so we decided to go with the best camera out there and that's ALEXA. It's a cinema look that we wanted...ALEXA seemed to us to fit perfectly for the film, so we could get this unexplainable cinema look. The ARRI background makes it a solid camera and we needed a solid camera; we had two months shooting by the beach with lots of sea, salt, sand and sun, and the camera stayed strong with no bugs or any problems."
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