![]() Then Claude shot Of Woman And Magic, as part of Arte’s Small Cameras series, with Philip Welt as cinematographer.Īrte decided to blow up the movie on to 35mm film for theatrical release, and it was a success in the theaters, but DV blown up to 35mm, wasn’t very good. The soccer sequences were shot in Digital Beta in order to record the games in continuity. Working with Peter Abraham, my gaffer at the time, we rigged up some lights using mercury or sodium bulbs instead of the usual tungsten. It was then that I really started working with sodium lighting. The film is the story of a young soccer player shot with very little lighting. Gérard de Battista : In 1999, I worked with Bernard Stora on A Considerable Inconvenience produced by Annie and Claude Miller and Films de la Boissière. ![]() What was your initial approach, and how did you enter into his world and his team ? Wilfrid Sempé : I wanted to go back to your first collaboration with Claude Miller on Little Lili. ![]()
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