20 Cinematographers You Should Know at Cannes 2019

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“Malick wanted us to be explorers, able to shoot like a documentary crew, mostly with natural light,” Widmer told IndieWire. “We were always looking for backlight, for which we needed lightweight cameras with lenses, which could take a lot of contrast without flaring and with a huge range of latitude. The actors should be able to move quite freely and keep their energy. We prepared the cameras in a setup, which allowed us to change from steadicam to slider or handheld in less than a minute. The takes could last from four to 40 minutes without a break. In interiors, we switched to the low light camera to capture as much as possible of the dark interiors in the rural homes, stables and prison cells.”
See the full list here.

Cinematographer Pär M. Ekberg Translates a Graphic Novel Into a Visual Extravaganza for Netflix Feature Film POLAR

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“We knew early on that we didn’t want to make it seem silly or stylized in the wrong way, but we still wanted to put elements of the graphic novel into the film,” reveals [cinematographer Pär Ekberg, FSF]. “We tried to find that balance with different references, as well as a lot of discussions and tests. If you look at these graphic novels, images are graphically presented in colors and composition but also through collageson each page where you might go from an extreme close-up of a face to a wide landscape. That kind of storytelling where it’s pieced together with different, dramatic sizes of scope. I think that was the big inspiration I received from reading the novel.”

Read the full interview here.