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Giles Nuttgens Almost Loses A Teardrop Diamond
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GN: With a limited preparation period, Jodie and I had to come to some decisions rapidly and the general feeling was that we would break away from the theatrical aspect of the script—in terms of format (we shot anamorphic 2.35:1) and to create some pace by letting the actors drive the camera through clear, choreographed movement. We tried to resist using the camera to heighten the tension or creating a fast pace through arbitrary or over-dramatic moves, as we felt this would betray the origins of the script.
One of the bigger problems on the set was the speed we had to work at. We only had a 28-day schedule and much of the film happens at night at a party with a lot of actors in period costume. It was summer in the plantations near Baton Rouge and humid as hell, so much of the shooting time was used up in dealing with that.
We came up with ways of moving with the actors, repeatedly developing over-the-shoulder shots within a single take that would describe the shift of relationships between the characters. This created long developing shots that we would cut into with corresponding developing reverse shots, allowing a fluidity and a rhythm that describes the changing balance of power between the characters, as the protagonist Fisher Willow loses and regains the love of Jimmy Dobyne.
Coupled with framing that uses the edge of the scope frame, we felt that we were able to break away from the proscenium arch of the theater and get enough pace into the edit to keep a modern audience interested.
MM: Are you influenced at all by the script when you’re choosing how to shoot the film? Does the tone of the script lead you to choose a particular aesthetic vibe?
GN: In terms of lighting, it was very important for me to be able to make sure that it worked to put a viewer into the period, but maintained contrast within the lighting without resorting to contrast enhancement in post-production. It was shot intended for a film-to-film process, so what I created through the camera was exactly what it would look like later. For distribution reasons, we later did a rapid 2K Digital Intermediate, but I was adamant in retaining the inherent contrast range of the original negative.
I suppose that is what I see as the difference between lighting for a period film and a contemporary one. Somehow, the psychology of the method of working has to have its base in that period—although we use modern film stocks (and I am a product of a modern industry) with relatively modern lenses, everything in that period was created in a direct way. There was no manipulation later. It suited me that we wouldn’t rely on a very new (electronic) process to create the feeling we wanted.
With a contemporary film, because anything is possible in this modern world, I also feel that there is no limit on the playing you can do within lighting and framing. Contemporary subject matter can take the pace of today, light sources can be created, invented and come from anywhere, a camera can do tricks that should be a technically impossible feat and we all accept it. It is very liberating after a period film.
MM: You started your career as a cinematographer working at the BBC. How did you find yourself working on feature films? What advice can you give to aspiring DPs trying to break into the business?
GN: I started in the BBC as an assistant film cameraman and was, for a while, 1st AC to Andrew Dunn (Gosford Park). It was working with him (coupled with the death of 16mm in TV) that gave me the interest in changing from documentaries to feature films.
Through a mutual contact, I met up with a director who was looking to shoot a film in India and never went back to the BBC after that. I worked for Lucasfilm for several years eventually ending up doing additional photography for the Star Wars trilogy.
If I were to start again I would probably be less particular about the scripts I do. What is incredibly important is to keep shooting, and to know that you should be able to make something good out of even weak material. Produce enough good work and you will get the chance to work on things you think are worthwhile. Any life experiences can only add to your ability to understand and communicate to a director or to crew—as we have to spend most of our lives away from home working, it is crazy not to profit from exposure to another culture, another way of working, another way of thinking.
Although approbation from our peers is very gratifying, ultimately what is important is that you are yourself satisfied with the quality and inventiveness of your work.
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COMMENTS | POST A COMMENT 
- Comment by Dan48 on 6/09/10 at 3:24 am
I’ll have to look for that movie, sounds like a really good movie. I’m glad to hear Giles Nuttgens in finally got a break, sounds like a good man.
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