When they finally managed to get together to collaborate, Ingrid had just received the Academy Award for her performance in Sidney Lumet’s 1974 adaptation of the Agatha Christie classic Murder on the Orient Express. They had reportedly discussed the idea of working together for a few years before they embarked on the making of the film. But even as I paused it frequently throughout to take notes on the lighting, use of colors and choice of angles, I remained just as involved in the story as I had been the first time around.Īutumn Sonata was the first collaboration between Ingmar and Ingrid Bergman (no relation), two icons of Swedish cinema. And I was more than happy to revisit Autumn Sonata, a film I had only seen once before but had remembered as an intensely powerful experience that left me speechless. Since I am serving as cinematographer on this short my friend is working on, I felt an obligation to see the films referenced as both visual and thematic inspirations. And one of the films on the list my friend compiled was Ingmar Bergman’s penultimate theatrical feature film Autumn Sonata ( Höstsonaten) from 1978. In this case, specifically visual guides. And similar to how many filmmakers work, we try to agree on a set of references. We will try to shoot the week before we both go back to school, but above all else, we are making a new film, something I can only describe as a joyous experience. As of this writing, I am scheduled to be the cinematographer on a short film my friend is writing and directing.
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