Interview to Iñaki Diaz Ugalde alias el negro.

1. What has been the best film you have watched because of IB Film this year?Wild Strawberries.

2. Who or what is your favourite (ignore as appropriate):
Director: Christopher Nolan.
Cinematographer: David Fincher.
Actor(s): Edward Norton, Morgan Freeman.

3. Describe your ideal film watching experience (where, when, who with, what are you eating and so on)In the cinema eating some 'nachos'.

4. What annoys you about other people while you're watching a film?People eating popcorn.

5. What is your opinion of cinema in 3D?"I don't like the glasses, they are really uncomfortable."

6. What is the oldest film you've seen?Wild Strawberries.

7. Do you think your film watching, or your film taste, have changed through studying IB Film? If yes, please explain how. For example, will you watch the new Michael Haneke film?"Yes, because I learn to analyze movies and I have seen some of them I would never done so."

8. What do you think are the strengths of the IB Film course?
"I liked very much the practical production."

9. If you could make your own feature film, with an unlimited budget, what would you make, who would you cast, and what role(s) would you take?"I would be the director, casting Morgan Freeman in a Thriller."

10. Finally, where do you think cinema will be in 5, 15 or 50 years?"In Argentina, because the visit to Pampa was very nice."

Practical Production Process

Practical production: Rational.

Sueños is a short film that tells the story of a young woman who has lost perspective: giving too much importance to her career, whilst sacrificing the other aspects of her life. We explored this loss of perspective through her relationship with her father and the reconciliation that comes about thorough an accidental meeting with a man who to others would be just a homeless mad man but to her serves as a prophet.

Shot composition and shot design

This shot is from a movie called Seven.

In this image there are two men, with serious face and arms crossed, which suggest they are serious and angry. One more is higher in the shot than the other, they are looking to the camera. It seems they are in an office.
the lighting is yellow and their uniforms black and white contrast from the background.
the camera angle is in the middle, it doesnt suggest anything as a low angle or high angle would. Its a two shot composition, where there are two people in the shot.
props: they are using suits and one of them has a badge, that comunicates to the audience they are detectives

Actor's Feedback

Actor’s feedback: cut, paste, and add as blog entry please.

Director and Scene:

Name of director. Lucas Ricardi.

Name of film: Tulio

Name of your character: Maria

Brief description of scene/lines of dialogue: Maria enters her house and Tulio, an imaginary friend from her childhood is there. And she says “Tulio, ¿ que haces aca?”

What was the point, dramatic function or purpose of this scene? Maria meets with Tulio again.

Your character:

Can you give some characteristics of your character; their ‘backstory’: Maria comes home from hospital, her father had just died, and she is pregnant.

How clear were the instructions given about your character? Her father died, she is pregnant.

Did you feel involved in your character? Explain why/why not? It was a really short period of time but we did it.

Did you understand the narrative content of your scene: where it ‘fits’ into the whole Short Film? I don’t know the short film or what is about but I understand that scene.

Did you understand the relationship between your character and the other characters in the scene? Imaginary friend from childhood

‘Is the director good to work with? Why, why not? (Be kind! It’s not easy!)

Yes, he was kind and patient. He explained what he wanted.

Documentary title, tone and target audience

Real love (from real life)

Love actingly.

Love tragicly (love actually)

Love happens… sh*t!

Independent Project: beginning

Rationale: The representation of romance in film.

Hollywood Beauty v European Ugliness

British Social Realism, French…, Hollywood

Italian for Beginners (Lone Scherfig)
Gregory’s Girl (Bill Forsyth)
Four Wedding’s and a Funeral, Love Actually (Richard Curtis)
Amelie?

The Secretary (Hollywood exception that proves the rule)

look at your classic Hollywood rom-com with something more blunt and honest, like British Social Realism or the French film post New Wave. Hollywood, fairytale. British social realism, realistic.

Mike Leigh… BSR… casting… language… plot…audience…

Hollywood blockbusters: J Lo, Maid in Manhattan, J Aniston, Hugh Grant/Sandra Bullock, Pretty Woman, Titanic… Kathryn Heigl, 27 dresses = Hitch

Ideology (Hollywood) = a woman needs a man to be happy.

BSM = holistic, realistic, wider representation of normality, BUT Drama?

IB Role: CINEMATOGRAPHER

Outline a profile of the cinematographer's role on the film set.
- What creative and technical roles do they have?

The person chiefly responsible for what you see on screen in terms of photography. This includes lighting, camerawork and the execution of the look or visual style.

The cinematographer role is in charged of the “photography” in the scene. He creates the atmosphere and meaning in the set. He sets the lighting and camera, by the shots, angles, movements, etc.

What is the relationship between cinematographer and director?
A collaboration, the object of which is to enhance the cinematic art and craft within the boundaries of the director's vision. They work together to find the best way of telling the story visually. Some directors have more idea of what they are looking for visually and others will be more "hands-off", trusting the cinematographer to add to his vision.

To what extent do you as cinematographer decide how a scene is to be shot?
This depends on the director. Sometimes he or she has a very strong idea; sometimes he or she looks for more input. Some directors require more input in pre-production planning whist others prefer to throw away preconceived plans after the action has been blocked on the set.

To what extent do you as cinematographer decide on the visual style a film is to have?
Again this varies. Sometimes a cinematographer is employed for a particular style that he has produced before or on his general approach. Other times he can play more of a technical role. It depends on whether he has been booked for his artistic approach, his technical ability or his general balanced outlook with all factors. Some productions are ruled very heavily by executives and studios; others have much more freedom to be genuinely creative.

Does the cinematographer operate the camera or is that a separate role?
It is a personal, budgetary and flexible decision to use an operator or not. Larger budget films generally tend to use a separate operator more than on smaller independent films. The general rule is if the cinematographer has the time and space to also operate he usually prefers to do this.

Do you think it's possible to make video look like film?
Generally no. Video tends to be flatter and more electronic whereas film has a more organic texture. This has a considerable amount to do with different optics but also the physical nature of the two tools. Similar comparisons could be between a Stradivarius violin and an electric violin, or between digital sound and the older valve or analogue systems. If film is digitized for multi special effects plate work there would generally be less difference to Hi Definition video used in the same way. If the subject is a single camera drama sequence, the different feels tend to stand out a lot more. Theatrical projection enhances this difference whereas it will be more hidden on a small, bad TV set.

How do you see the role of the cinematographer changing with the digital revolution?
Very hard to tell. Much depends on the integrity of the producers and the discretion of the audience. If the art and craft of cinema is noticed and cared about then cinematographers have a lot to say, do and express. If the general attitude is one of fashion and the latest gimmick, bad TV and expensive home movies will become the future. The art and craft of cinematography has a lot more to do with how we will see images than the tools used. Will the cinematographer have the opportunity or the will to deal with the digital revolution? Will compromise become our yardstick? Or will the new tools become better than the old ones?

Do you find storyboards useful or restrictive?
They are useful in complicated action or SFX sequences and can be a good way for filmmakers to communicate and focus. It is often very useful to do them and then throw them away if better shots can be found. Again it depends on the production and the approach of the director as well as the budget in terms of how much serendipity can be afforded in terms of time, stock and creative improvisation. Some subjects need to have more control applied and some need more freedom and space.

Talk us through the process of lighting one of the scenes you have shot?
I like to see a blocking of the action on the set before I start. I distil the mood of the scene dictated by the drama in the context of the subtext of the light. I try my best to see with my eyes, use my intuition and use all my experience before I engage any craft or technique. This makes the technical side much easier and faster as I know exactly where I am going. The next steps are organic and certain at the same time. I decide on the source or key lights or light. I then build from here with the other lights, which I set roughly in position. I then do some tweaking of the lights if necessary. I take in and incorporate good accidental observations. I do a final check with the actors and do fine adjustments if necessary. I start with the widest shot. I bring lights in for the close-ups. I look very carefully at the faces of the actors to enhance the dramatic mood to check if I am getting what I want.

What advice would you give anyone wanting to become a cinematographer?
Think twice and, if you have to, be prepared to give total commitment. Ask yourself why do you want to become a cinematographer.

Are there any books that you would recommend on cinematography?
It's not about books. But...
Cinematography Screencraft By Peter Ettedgui
Masters of Light by Dennis Schaefer & Larry Salvato
Story by Robert McKee
Directing - Film Techniques & Aesthetics The Keepers of Light by William Crawford, Morgan and Morgan
The Negative by Ansel Adams, New York Graphic Society

- How much credit for the final films do they deserve?

Cinematographers get much credit for the film and they are highly recognized.

- Which cinematographers work consistently with which directors?

• Anthony Dod Mantle (Slumdog, 28 Days, basically shoots with Danny Boyle and Lars Von Trier. Last King of Scotland)
• Gordon Willis (The Godfather, several Woody Allen...)
• Wally Pfister (Christopher Nolan films)
• Barry Akyroyd (The Hurt Locker, United 93, Sweet Sixteen)

IB Film Role: CINEMATOGRAPHER

Cinematography:


Who are your favourite classic and contempary Cinematographers?

Cristopher Doyle
Barry Ackroyd
Robert Richardson
Anthony Dod Mantle

What films best demonstrate their work? How? What are the features of their style?

Hurt Locker
Avatar
Pulp Fiction

Do they often collaborate or work with certain studios, directors...?

Yes, they always work with directors and also with the director of lightining. As they can set the film in terms of the meaning.

What is the main role on set of a cinematographer?

Is the person which is in charge of the camera angles, the mise en scene, lens, lightining, props, clothes. It´s a mixture of creative and technical stuff.

Who won the Oscar in 2009 and 2010 in your role?

2009: (Slumdog Millionaire) Anthony Dod Mantle
2010: (Avatar) Robert Richardson

What is considered the best of most important textbook to read if you are going to be a cinematogrpaher?

Cinematography- Theory & Pactrise by Blain Brown

Oscar 2010 Results

Best Picture: Avatar (The hurt locker)

Actor leading role: Morgan Freeman (Jeff Bridges)

Actor in a supportive role: Matt Damon (Christoph Waltz)

Actress in a leading role: Carey Mulligan (Sandra Bullock)

Actress in a supportive role: Maggie Gyllenhaal (Mo'nique)

Animated Film: Up :D

Art Direction: Avatar :D

Cinematography: Avatar :D

Directing: Avatar (The Hurt Locker)

Film Editing: District 9 (The hurt locker)

Foreign language film: El secreto de sus ojos :D

Music: Sherlock Holmes (Avatar)

Sound editing: Avatar (The Hurt Locker)

Sound mixing: Transformers (The Hurt Locker)

Visual effects: Avatar :D

Writing (adapted screen play): District 9 (In the Loop)

Writing (Original screen play): The hurt locker (Inglorious Basterds)

Oscar 2010 predictions

Best Picture: Avatar

Actor leading role: Morgan Freeman

Actor in a supportive role: Matt Damon

Actress in a leading role: Carey Mulligan

Actress in a supportive role: Maggie Gyllenhaal

Animated Film: Up

Art Direction: Avatar

Cinematography: The Hurt locker

Costume design: Coco before chanel

Directing: Avatar

Film Editing: District 9

Foreign language film: El secreto de sus ojos.

Music: Sherlock Holmes

Music song: Nine

Sound editing: Avatar

Sound mixing: Transformers

Visual effects: Avatar

Writing (adapted screen play): District 9

Writing (original screen play): The hurt locker

2010

This Summer holidays I've been pretty busy studying but that didn't stop me from watching films! I went to the cinema every now and then with my father, film lover, and sometimes my mother.


Paranormal activity: A little scary but I love Horror films. The use of hand-held camera made it seem more real, I thought it was good.
Avatar: really good.

Invictus: Its about South Africa and Nelson Mandela and Rugby, boy film. But I found it inspiring and motivating.

Sherlock Holmes:I thought it was really good but a little long, anyway I liked it.

and not at the cinema I saw: Rec. Knowing and one more I can't remember.

I still have my list of films I want to watch:
-The heart locker
-District 9
-Valentine's day
-Up in the air
-The hangover