Friday , February 26 2021

"The Star is Born" by DP Matthew Libatique for a lens with Bradley Cooper – a variety



The shooting of Lady Gaga, revealing herself as a landed woman while rocking the rock star character Bradley Cooper created herself was just two of the challenges faced by the DP Matthew Libatique asterisk lovers with the story "Star is Born." The love story is on EnergaCamerimage's fest, competing for the main cinema awards. Libatique admits that Cooper was so busy that during his debut, DP often remained the same to decide on the composition and the shots.

You started your career in the work of Ed Lachman, the captain's cinematographer and perennial mentor here on the feast. Did he have the hours you still use during the shooting?
The way I used It has the system of this modified exposure zone, which it uses, which is not exactly the Ansel Adams zone system. He acted in gray and common values, so I used to be very similar to him, except that he was overexposed. I'm not enough. The other thing is that he is so versatile, a project project. He has a great influence on me.

You said that you did not take a lot of footage on this movie because you wanted to give Cooper and Lady Gaga a place to go for medicines and hotels where their romance is blooming. Is not it risky?
I responded to what they did – it was always a kind of surprise. How did they find a wedding dress. It was actually a costume designer's wedding gown. This movie was a mentality of this kind of spiritual essence. It's the Warner Brothers movie, but it had an independent feeling – there was no studio presence, for example, you would get a normal movie.

You took real-world performances of the concert scene by filming live bands. This clearly indicates the schedule of experts.
It was a source of anxiety. It was kind of relaxing to get into the narrative bits. We started Coachella on two weekends. So, we were able to get our own stage and lighting values. Then we continued from there to something we pushed, like in the Greek theater, the song "Bad", where she first saw the scene. And then to the next level where we shoot between works in real concerts.

So Cooper, who is in front of the chamber in most of the movies, as we see self-destruction of our personality, singer and songwriter Jackson Maine, was based on you to decide how to shoot many scenes?
I can not say enough how to motivate her. The process was very fluid. He was not too valuable about things, and he had none of the anxieties that some of the directors had about photography. It was the authenticity of the performance he was aiming for. He worked in this film and did a wonderful job. His leading workmanship was impressive for the first director.

Did you feel extra pressure, because you actually became a co-director?
I never thought about it – I just wanted to support him. Between Lady Gaga – Stefani [Germanotta] – and Bradley, they had so many hats. You know at night that they come up with music, songs.

He is the director and he works and appreciates his stage performance while he is working with him. At least, I could do it to help him by focusing on things other than cinematography. And down the line, camera operators did more than usual. We all had to participate collectively.

So his dozens of role-playing chambers seem to be prepared for him to run quite well then?
He is very persistent in trying to improve it. And he has a great sense of editing with photography, which, in my opinion, is an excellent director's mark. Knowing how you are going to get out of the scene and get to the stage. How do you learn it? I think it's just because he spent so much time working with both Clint Eastwood and David O. Russell.

Talking about the look of the movie and the colorful taste of Cooper's concerts, when deciding that you've decided to decide what their scenes are set for, rather than adjusting them in the messages, is it correct?
I do not really like reinventing the wheel in the mail process. I am very special about daily magazines. Diaries should be pretty much about what is going to be. Therefore, there is no ambiguity. And I find it difficult to step down from it. In rare cases, I've worked with directors who wanted to change the look of the film. What is its meaning? I think it begins to look false when you start interrupting it.

And what about directors who want to take in neutral shades, so that they can then decide on a color palette?
Well, it's the same feeling that I'm just about framing over to get something else. You just change something for some other reason than the editing option. I like people who have an idea of ​​what they want to do.

Did you have more flexibility to take on the movie "The Star is Born" than "Mother!" Where were you in hard quarters when filming Darren Aronofsky 16 mm?

In fact, both films had approximately the same budget. They have a mid-level budget, a rare 30 million dollar film type. It seems that today it is more than 100 million dollars or it is 10 million dollars. So I was lucky. It's a nice place to be. You have enough money to do something special, but you do not have the pressure of 100 million US dollars.

Do you always work the camera as much as you did? Star was born?
No, sometimes I will retreat, especially with regard to the activities of several cameras so that I can watch all the footage, so I can make sure everyone is on the same page. The last thing I want is the same as three different personalities, doing three different things.

I found out I was working with Spike Lee. He will use several cameras in very interesting ways, and I have to get away from the camera, because I have to see all the shots to make sure everyone is connected. But I like to work, especially hands.


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