I think working with Nicolas Winding Refn is a gift for any cinematographer, because he is interested in visual story telling, in poetry, in suggesting rather than narrating. He doesn’t care about the conventional established representational mode of film story telling, he goes beyond, and for me thats what always been exiting in film making. I always tend to look for directors that are working in this direction, but Nic is probably the most extreme of them, and that’s what I love about him. He pushes me to get the bravest part of myself, to jump the abyss, he doesn’t care if we fall and crash while trying, he would rather try and fail than to stay in a safe territory. So, I love jumping with him, and most of the time, we don’t fall but we fly.
Mitesh Mirchandani is a rising cinematographer in the industry who is currently based in based in Mumbai. Only 26, he DP’d the feature film Neerja, which could be the sleeper hit movie of 2016. From here on out, his future is bright. http://www.miteshdop.com/ Interview with Mitesh Mirchandani: Matthew Toffolo: How is the film scene in India? What… Continue reading Interview with Cinematographer Mitesh Mirchandani (NEERJA)
Read the best of Director of Photography interviews and Cinematography notes from the to people working in the industry today: Interview with Cinematographer Chad Griepentrog (The Bachelor Reality TV Series) https://matthewtoffolo.com/2016/02/17/interview-with-cinemtographer-chad-griepentrog-the-bachelor-reality-tv-series/ Interview with Cinematographer Albert Arthur (Better Call Saul, Breaking Bad) https://matthewtoffolo.com/2016/02/16/interview-with-cinematographer-albert-arthur-better-call-saul-breaking-bad/ Notes on CINEMATOGRAPHY – SHOTS AND CAMERA ANGLES https://matthewtoffolo.com/2015/06/01/notes-on-cinematography-shots-and-camera-angles/ Photography in Film. The art of Cinematography https://matthewtoffolo.com/2015/05/14/photography-in-film-the-art-of-cinematography/… Continue reading Cinematography Interviews and Production Notes
I started prep three weeks before the first day of shooting. I asked Vince Gilligan and Peter Gould if the wanted to continue the style of Breaking Bad, and their answer was that they did not want a complete break, but they wanted it to be different as well. They stressed repeatedly that they felt TV shows were all starting to look the same, and that they wanted “Saul” to look like nothing else on television. They showed me stills from “The Conformist” and from Kubrick’s work. Our first day of shooting was in bright sunlight in a skate park. I kept looking for Jean-Louis Trintignant in a period tuxedo, but he was nowhere to be found.
One point of departure was that they didn’t want the handheld look that gave ”Breaking Bad” its’ nervous energy. In fact they did not want any camera movement that was unmotivated. This was quite a departure from my last few shows, where the producers would start twitching if the camera wasn’t moving at all times. It required retraining my operators to avoid movement unless absolutely necessary.
Vince kept pushing the look darker and darker, saying “we know who they are, we don’t need to see them all the time”, which is a departure from what is essentially a comedy.
LENSES FILTERS FILMMAKING NOTES Cinematography is the art of manipulating light and shadow, and capturing it as a moving image. CINEMATOGRAPHY – SHOTS AND CAMERA ANGLES QUESTIONS TO ASK: -What is the best viewpoint for filming this position of the event? -How much area should be included in this shot? SCENE defines the place or… Continue reading Notes on CINEMATOGRAPHY – SHOTS AND CAMERA ANGLES