uno de los mejores directores de fotografía del momento es, en mi opinión, emmanuel lubezki. sus películas tienen siempre algo especial. y su nueva película junto a malick -aquí os presenté el trailer-, presentada esta semana en cannes, lo demuestra.
en una entrevista con kodak explica lo siguiente sobre su manera de trabajar en esta película.
You mentioned that you used very little lighting on the film. Why?
It’s interesting. Once you start shooting without film lights, and you go twenty days without using an HMI, if you then put up film lights, they look really bad. It just doesn’t make sense. If you really look carefully at natural light, you realize how complex it is, and how it’s constantly shifting. When you put up an HMI and diffusion or bounce, it’s very monochromatic and has a different feeling. So we burned our bridges, and sent all the lights back to the rental house. You can do this with Terry because he really understands lighting and camera very well. If we are inside a house and it’s not working, instead of bringing in lights, he would rewrite the scene and reassemble it outside. Or we’d shoot something else, and come back the next day when it was sunnier. The production was very agile in that sense. Also, the production designer, Jack Fisk, made the entire film possible. In the house that was one of our main locations, he added some windows in key places that became the main sources of light.
viva el sol. viva la luz natural.
la entrevista completa aquí.
