Blue borsalino - Cinematographer
"As with any project time and money were very much a limiting factor; but Mark’s such an organised and well prepared director, we actually gave ourselves the best possible chance of making the most of our opportunity to make this film. Based on the strength of the script and talent attached, ARRI were kind enough to give us an incredible deal on camera equipment, as did Panalux with the lighting, so we were able to punch well above our weight kit wise. The main difficulties were still time, as we had very limited time in our locations and a relatively small crew, so we just had to work very quickly to get everything we needed."
"Mark had some great references, but for me the two references I kept at the front of my mind were the paintings of Edward Hopper and Conrad Hall’s photography in Road to Perdition."
"We made the choice to shoot on the ARRI Alexa XT with vintage C-series anamorphic glass from the 70s, which in combination with the full-frame Alexa sensor gave us the next best thing to the 35mm aesthetic we desired. We used several techniques to differentiate the modern day with the flashbacks, some high-speed work, match-cutting in a montage dream sequence, and we used helium lighting balloons and Artem smoke machines for our big night exterior set-piece."
"The edit was completed by Dave Silver and our grade was thankfully with Lee Clappison at Goldcrest, who I’ve been lucky enough to have colour a lot of my recent work and always manages to elevate my work above what I’ve achieved on set."
"I really enjoyed this project. Mark is a joy to work with as a director, and combining that with wonderful production design, locations, a noir tone and some amazing actors including David Warner – it was a dream of a short film to work on. Now it’s time for Mark to step up to features but he’ll have no trouble doing it and I’ll be right there with him."
