Blonde was about creating a flow where we replaced conscious thought with a more intuitive one.” Sometime cinematography can be like calculus. “From my perspective it was about creating a flow, so we’re trying not to prescribe. Read more Craft leaders: An interview with Editor Barry Brown.The cinematographer’s feature work also includes the 2017 drama Hannah, as well as director Spike Lee’s Oscar-winning drama BlacKkKlansman, based on the true story of a black police officer who infiltrated the KKK. So, we would shoot the scene one way but be able to shoot it differently the next take.” Capturing the moment My approach was to come up with a strategy that supported us to adapt to whatever would come up in the moment. There was no discussion about close up or mid shots. “He’d say something like ‘at the premiere I want the camera to attach to the car’. “Andrew and I never shot listed the film except for the first three days of preproduction,” he says. This meant that Irvin had to be ready to respond instinctively rather than slavishly adhering to a preconceived idea of what the film would be.īlonde: a biopic of Marilyn Monroe, created a flow replacing conscious thought with intuitivity He would do this on almost every single scene.” So, in one scene he might give a direction that is quite alienating and judgemental of that character, and in the next take he’d give another direction to the same actor saying the same dialogue but now the message is compassion. “Andrew had a real understanding of what he was trying to do emotionally but he would take it multiple directions during a scene,” explains Irvin. Where the film departs radically from a by-the-numbers biopic is in the fluidity of the camera work and editing style that reflects Monroe’s increasingly chaotic inner-state (the result, the film suggests of childhood trauma and repeated failure to find a family in adult life). Irvin specifically relied on T1.0 50mm, a focal length often used in stills photos of the period which also had the effect of blurring the background. Many of these posters are meticulously recreated exactly down to the 1.33 aspect ratio that was favoured by stills photographers of the time. Blonde: Dominik, Director, wanted the film to be an onslaught of images
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