Documentary Interview: Composition, Lighting and Style
This is a beautiful setting for a interview with an amazing composition that capture an array of different colours in this natural landscape shot. Natural lighting used extremely well on this bee keeper laying in the Swiss Alps
"Here the bees are feeling good. They are having Sunday today. No wonder they are making such clear honey. Pure nature, no fungicide, no poison, anywhere"
This natural setting has produced a natural interview that suits the context of the documentary message.
This close up shot of Peter Staley is simple, soft and beautiful in a rich black back drop. In this shot Staley explains his survival journey through HIV/AIDS, and how he has the luxury and burden of reflecting upon it with us "Just losing and uh just so many, so many good people and uh you know, like any war you wonder why you came home"
Imelda (2003) Directed by Ramona Diaz. Cinematography by Ferne Pearlstein.
Ferne Pearlstein has set a beautiful composition for this shot, with great natural lighting.
After Tiller (2013). Directed by Martha Shane and Lana Wilson. Director of Photography Hillary Spera.
A compelling interview as DR. Warren Hern, one of the only four doctors practicing late-term abortions in the U.S describes his families fear in the light of the assassination of Dr George Tiller; a fellow doctor in his field.
This mid-close up shot makes for a compelling interview, with great depth of field and colour definition in the background.
Cane Toads: An Unnatural History (1988) Directed by Mark Lewis. Cinematographer Jim Frazier.
Beautiful scenic wide angle shot of Tip Bryne. Bryne a sugar cane farmer reminisces the moment in history when the Cane Toads invaded Australia.
Indie Game: The Movie (2012). Directed by Lisanne Pajot and James Swirsky.
This relaxed medium shot in Indie Game: The Movie is light beautifully. The cinematography is simple but careful, light by a soft natural light. I want to shy away from using production lights for my interviews, for I feel that it will attract away from the authenticity of the work. However, this shot is beautifully light, without an over whelming presence that equipment was used, due to the natural light coming through the window on the far right hand side.
A Very British Gangster (2007). Director Donal Macintyre. Cinematographer Nick Manley and Mike Turnbull
A very British Gangster follows the profile of a Manchester gangster named Dominic Noonan. There are many shocking events that unravel in this documentary that would discourage many viewers. However, the cinematography prides itself on the Manchester setting has captured the dull, ugly and deprived areas of Manchester that Dominic reigned. Nick Manley has done an excellent job on capturing a very grey and unsettling place. This is an aspect I should take on board for my production, due to me shooting in a similar area, primarily using natural light.
Life According to Sam (2013). Directed by Sean Fine and Andrea Nix Fine. Cinematography by Sean Fine
Sam Berns the hero of this film, sufferes from a rare genetic disease called progeria. In this interview he explains "I didn't put myself in front of you to have you feel bad for me. I put myself in front of you to let you know that you don't need to feel bad for me. Because this is how, I want you to get to know me. This is my life."
An amazing close up shot, the soft lighting accompanies the clear and natural message that Sam reveals the the audience.
Exit Through The Gift Shop (2010) Directed by Banksy. Cinematographer Thierry Guetta
Thierry Guetta and the 9 other Cinematographers involved in this feature (Eric Coleman, Jaimie D'Cruz, Jerry Henry, Karoly Holbon, Melody Howse, Romain Lefebure, Todd Mazer, and Andy Phipps) have contributed towards an amazing piece. In this scene if you look closely you can see the black mask over the hoodie hole, ensuring the identity of Banksy is hidden. For a particular interview I have arranged, the interviewee Jennifer wishes to keep her identity safe for personal reasons. Therefore I will need to conduct her interviews in a silhouete, or use post production covers such as a blur or a black mask on this shot.
Here is a woman named Rukhsana, still living with her husband in-laws after they performed unspeakable horrors upon her; dousing her in acid and gasoline and setting her alight. "This is where they burned me alive. My life was destroyed in this room"
This wide shot has made a great use of the props in the room and the proxemics, making a cold and chilling interview as you can see the whole room as she described what happened here.
Whores' Glory (2011) Directed by Michael Glawogger. Cinematography by Wolfgang Thaler
This Cinematic masterpiece is just as dark as it sounds. Veering between the shocking and banal lives of whore, pimps and johns in three brothel districts around the world. This is perhaps my favourite shot in this blog post, this naturally light mid shot is both athletically pleasing and figuratively relevant as an unnamed John in Faridput, Bangladesh describes his consumer act while shaving a mans heads.
"When I have a break I go to the bazaar and fuck, to enjoy myself. I go at least once or twice a day. It's all I think about. Without the Faridpur brothel district, women couldn't go out on the streets without being molested. Men would be so horny they would rape them. Without these women, men would be screwing cows and goats."
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