Skip to main content

 


“High Life” portrays a different sort of expanse—the vastness of outer space—resulting in an absence of sound that may seem emptier yet is no less nuanced and revealing.
Cinematographer Yorick Le Seaux talked about his collaboration with Claire Denis and how her ideas and insticts make her a great director.

"Claire usually doesn’t like to move the camera much. Her ideas and instincts are what make her a great director. While shooting High Life, she would walk in the middle of the set as an actor would to feel the scene from inside. She can feel where the energy is, and where the best camera angles will be. She lives from the inside of a scene, so whenever she would say certain words to me, or give me even the slightest indication that I would have to follow her lead, I would."











Claire wanted the film's yellow-tinged lighting to look organic, so the last 3 to 5 minutes of the film were shot in 35mm.

"Our scenes that take place in small rooms and small beds called for a small, near-invisible camera, so we used the ALEXA SXT Plus to shoot them. But because Claire believed strongly that our yellow-tinged lighting should look “alive”—organic, rather than digital or rendered with special effects—it was clear to her that the only way to convey that would be with the grain of 35mm. So, for the last three to five minutes of the film, during a moment in which our characters exit the spaceship inside of a little capsule, we changed formats again and shot it in 35mm.



source moviemaker, artnews

Labels:

Comments

Post a Comment

Popular posts from this blog

  Based on the 1952 novel The Price of Salt, Carol tells the story of the relationship between two women, an aspiring photographer and an older woman going through a messy divorce in the 1950s. Director Todd Haynes brings the intimacy and the sensitive to the story with the help from cinematographer Edward Lachman. Lachman, who has worked with Haynes on Mildred Pierce, I’m Not There, and Far From Heaven, has brought his own distinctive style to the film with his choice to use Super 16mm instead of going the digital route. It’s not the first time that Lachman and Haynes went the 16mm route, the duo also used the same camera for the HBO mini-series, Mildred Pierce. By employing the use of a camera that’s unusual in most Hollywood films, Carol stands out among the rest, cinematography-wise. Deciding to stick with film for Carol, the cinematographer wanted to invoice the atmosphere and the feeling of the 1950s and the movies that came out during the time. Sticking with Super 16mm, Lach...
Post a Comment
Read more
  The movie Fargo, released in 1996 and directed by Joel & Ethan Coen, was shot on film using ARRIFLEX 35 BL4 Camera and Zeiss Standard Speed Prime Lenses with Roger Deakins as cinematographer and editing by Ethan & Joel Coen. "It was fun for all of us and a relief in a way. It was back to working with each other and a small crew in a very controllable environment, which was similar to how we had done Barton Fink. On Hudsucker, Roger had to essentially oversee four different units: the main unit, the second unit, the bluescreen unit, and the miniature stuff." says Joel Coen.   Early on in Fargo's pre-production, the Coens had meetings with Deakins to discuss and solidify the visual style of the film. "We always involve Roger very early," notes Joel. "Basically, what we do after we finish the script is sit down with him and talk in general terms about how we were thinking about it from a visual point of view. Then, in specific terms, we do a draft of...
Post a Comment
Read more
  Director Joe Talbot and screenwriter Jimmie Fails met in grade school and became close friends as teenagers. Talbot convinced Fails that his family’s story was worthy of a 90-minute-plus run time. They have a shared love of movies, skateboarding and their multigenerational connection to the city. Fails and Talbot have made their debut. Their films provide commentary on issues plaguing the Bay Area, such as gentrification, racial tensions and race relations. They join the cinematic wave of contemporary Bay Area filmmakers whose projects focus on these issues. Cinematographer Adam Newport-Berra shared "We spent a lot of time going through references for the film as well as scouting iconic locations, but what it came down to was devoting ourselves to creating a beautiful, romanticized, modern-yet-nostalgic vision for the city. We picked impressionistic times of day to shoot our exterior set-pieces, and sought out areas that reflected the tone and energy of each scene. The locations...
Post a Comment
Read more