Ger Leonard

I am a writer/director whose DP has become unavailable for my first feature in Ireland. Having built up a strong relationship over the last 3+ years and feeling very much in tune on a project that we are both passionate about and share a vision for, my Hungarian DP has had to commit himself to another feature film. I know he struggled with this decision and I understand and respect his choice. He needs to shoot one feature a year along with commercials, shorts etc or else "he goes nuts". and last year none of his features were made. As he has shared our many false dawns and frustrations, (testing our patience but never wavering in our belief in this film) and knowing that despite our commitment to finally go into production this year, on a budget ranging between 1m and 1.4m euro instead of our initially projected 2m.. we simply could not 100% guarantee production this autumn.. he committed himself to a film that has its budget fully in place and dates locked. There is no hard feelings only best of wishes (laced with mutual regret) I will not share with you the painful details, the near misses, the almost theres, the talent coming and going, over these years.. as i'm sure you know these frustrations well enough. If for whatever reason production becomes delayed yet again and we run into 2009 he would like very much to shoot our film, while at same time he hopes that after these long and frustrating years we can finally get to shoot this film before this year passes. It would pain me to have to delay production again until next year especially if all else is in place. He understands this of course, and naturally once we start looking for a new DP, if would be difficult/unfair to turn back. So as a writer/director with his first feature finally approaching production this autumn/winter.. I am writing here to ask for suggestions. I would of course be simpler to find a DP in Ireland, and there are no doubt many strong candidates, but I have always liked idea of bringing in an "outsider" perspective. Below is a short synopsis of the film SHELTER (name may have to change to FIVE DAYS SHELTER) and some brief notes on cinematography. I know most here are american cinematographers and most likely our new DP will come from ireland, Uk or mainland europe.. I appreciate your taking time to read this and although i am not here looking for applications, I would appreciate your opinions, suggestions, and advice. SHELTER is a highly visual ensemble drama interweaving the lives of several characters in a contemporary urban setting over five days. All the characters live untenable existences of quiet desperation. It is only by letting go of the lies they?ve forced themselves to live, that they can ultimately find release and connect with the ?beauty?, the poetry, that their numbing routines have made them blind to. Shelter looks at the interconnectivity of all things in the face of man's inherent isolation, with themes of human nature and animal instinct, through a language beyond that of words. These lives are portrayed and betrayed by their fleeting interactions with each other and crucially the animals in their lives. This is a unique serious convergent drama revealing the poetry of the everyday. It is this recognition of and connection with the poetry and beauty in and around us that can lift us out of our sometimes despair and suffering. The first draft contained no dialogue. Once I knew I had found the film the characters found their voices. It now has sparse, minimal dialogue and although strong on narrative it works more as a thematic exploration, closer to poetry and music. The script yields its meanings (and asks provocative questions, for it is not morally prescriptive) through its overall conception, metaphorical constructs, structure and tone. If asked to offer examples of films of its kind one could mention aspects of the work of Krzystof Kieslowski, Alejandro Gonzalez Inarritu, Terrence Davies, Robert Bresson, Lynne Ramsey?s Ratcatcher, and Leos Carax?s Les Amants du Pont Neuf, amongst others. CINEMATOGRAPHY * A lyrical/heightened naturalism. * Observational, non-intrusive. * Limited coverage. Masters where possible. Plan sequence. Dialogue often offscreen. Laconic minimal style * Camera movement (finding/losing/leaving/abandoning) holding still at end of shot. * Slow deliberate camera moves, giving unsettling edge, a shift in perspective. * Objects obstructing view. * Negative space. * Frames within frames. (doorways. windows, mirrors) * Reflective surfaces * Empty frames, characters entering and leaving. * Abandoning angles. * Detached point of view (anthropological) Limited use of close ups. * Occasional use of macro lenses for intimate scenes * Mixed source lighting. Conflict between natural and artificial light sources. Use available light and practicals. * Light places not faces. * Limited use of fill lighting * Spartan approach, work with darkness, let things fall off, and highlights bloom and blow out. * Musicality, rhythm, repetition, coherence This film has been playing in and on my mind for 4 years, but these haven't been wasted, the film is now much more clearly defined and refined, and will be all the better for the faith held in it for so long... Thanks again for your time.. and BTW.. this is a wonderful forum for informative and inspiring discussions... much appreciated... GER

today my favorites... Once Upon a time in the West .. leone '68 Down by Law ... jarmusch '86 Ratcatcher .... ramsey '99 A Blonde in Love ... foreman ' 65 Spirit of the Beehive... erice '73 appreciate anyone's comments on these films

I recently saw Carlos Reygadas' "Silent Light" which features some stunning cinematography, none moreso than the seemingly effortless opening shot . The film begins with an image of a starry sky, with nothing but chirping crickets on the soundtrack. The camera then tilts slowly downward until we see the horizon in the distance. After this, the sun slowly rises, and we begin to make out the rolling hills, and a few trees. As the sun continues to rise, the soundtrack begins to teem with life- chickens, cows, and the like- and we see a farm. All the while, the camera ever-so-slowly pushes forward toward the horizon, as the sun rises higher and higher above the hills. He claims that "I was listening to Sigur Rós before going to bed, the computer was in front of me, and the screensaver came on. I have this cosmic screensaver, a picture of stars moving out of the frame very, very slowly. I looked at that magnificent space landscape with the music of Sigur Rós playing and I thought the movie had to open like that." I admire this shot and his honestly in giving its rather mundane inspiration immensely. I am a writer/director myself with my first feature due to go into production this autumn/winter. The opening scene of my script reads. EXT. SHORE ? NIGHT 1 Night stars reflect on the rolling waves of the sea. The dawn is breaking, shedding light, filtering shades of blue up through the night sky, like a bruise. MOVE BACK with the dawn TO REVEAL an empty swimming pool, covered in leaves, with a low diving board belonging to an empty house for sale overlooking the sea. MOVE around over the shore to the sky above a city. The city?s yellow/orange streetlights hum out their electric riposte to this now fading night. ___________ Long before I saw "Silent Light" i had envisaged my opening sequence as lasting roughly 6 minutes. To see a film as visually captivating as much of "Silent Light" is inspirational. My film is very different to Reygadas', but undoubtedly our opening sequences could share something of a similar quality. I wondered what people felt about this film, the opening and closing shots in particular and his work in general. Also how you feel about seeing work/shots that share similarities with shots you had in mind for your own productions. if anyone has any suggestions on how to achieve such an opening sequence as mine that includes the sea, a beach, a house with an empty swimming pool overlooking the sea, a city.. when it is highly conceiveable that such a location will prove impossible to find/afford. EG green screen, matte painting etc. I would appreciate it. PS favorite opening shots/sequences ? Best

without doubt one of the greatest achievements in cinema history. I was extremely blessed to be able to see this on the big screen at the recent Dublin Film Festival, an early saturday, packed house. Utterly breathtaking. Automatic entry into top ten all time films.. and a very strong contender for the greatest.(along with The Good , the bad, and the ugly) Technical achievements aside it is a profoundly moving film.. A perfect synthesis of form and function

Cheers jack... where did you get that information on The Return?

Thanks david and John... from reading posts here over the last few months, I've got to say I really admire and appreciate your knowledgeable contributions.. the www.galloappreciation.com site was one i had not yet come across.. fascinating interview ..thanks.. I wonder though about your views on this processing technique. My producer and DP, both experienced, talented and good guys, understandably would rather use less risky/unstable techniques to approximate this kind of timeless(although to many intrinsically 70s) look.. When I saw buffalo 66 I immediately said yes thats the kind of look I've wanted for my films. On a short film I directed before seeing Buffalo 66, I had asked for reversal film, but my producers balked and refused.. Claiming it was too expensive etc.. I later discovered that they had not even enquired through learning of a later (a year later) production that got a 50% reduction as they were the 1st to ask !!! My producer and DP this time are guys I trust.. i appreciate their reluctance Is is trully possible to achieve this kind of look thru' other means? without it losing its soul.. to qoute gallo (yes he's controversial maybe even mad and Brown Bunny is a mess but it's great to hear his kind of unedited passion again in the film world)

I am fascinated by the washed out musty look of films like Ratcatcher and Buffalo 66, to cite two recent examples.. (70s films in general) I find that unstable quality fascinating, I love when films look like they have been lying in the garage for years .. I hate glossy films. I recognise that processing techniques should never by used in isolation to create a look.. Set design, costumes, lighting, framing must all work together coherently.. I recall reading that on Ratcatcher Alwin Kuchler used older fuji 500T stock, i think 8573. I presume he used tobacco filters as well. Famously Vince gallo claimed to have invented a new stock and processing technique for Buffalo 66.. I believe he baked the stock, used an older reversal film.. Various articles purpose different theories as to what they did exactly and on what exact stock... all risky and he admits/claims if his producer hadn't been out of it on drugs he's never had chance to try this! Frank G. DeMarco shot Hedwig and the Angry Inch used Kodak 5298 and used forced processing, pushed it a stop and a half to approximate the Buffalo 66 look the director wanted. DeMarco felt using reversal stock was too unstable and I imagine the producers agreed.. (Kubrick pushed it 2 stops on Eyes Wide Shut) Using older set of Zeiss prime lenses, I have heard help add to this feel. We will be shooting tests of various techniques, stocks and processing but we have a relatively low budget .. any suggestions would be welcome I am the writer/director and this is my first feature Some notes on visual style for this film: Light spaces not faces Use of negative space, off balanced frames Frame within frames (obstructions) Abandoning angles (after more intimate shots) Wide aperatures to add the danger of things going in and out of focus Allow windows bloom and blow out Let highlights overexpose Conflict between artificial and natural light Use available and practical light sources Desaturate colors and increase contrast

I enjoy a wide range of film and music but when it comes to my writing and directing, just like most of the best in music it has to come from the soul with integrity and passion. As in music, much of the films currently lauded lack true character... manufactured simply for the radio and the multiplex..to appease market forces.... to numb and degrade rather than enlighten.. It is also unfortunately true that many of the films lauded as personal are nothing but self indulgent excercises in pleasing festival judges/peers.. It seems sad that many individual artists with new distinctive voices flounder after their debut outing in a desparate attempt to get signed to a major label/ studio.... and all too often lose themselves in the shouted cliches and noise.. I do not wish to make films to emulate films but to communicate with people and life..., films that dont merely wish to escape but rather to embrace life.. i would rather be in a musician that writes and creates their own music, their own sound, rather than be in some cover/ rip off band trying to cash in with recycled watered down versions of other people's past glories..

I am in the process of choosing a DP for my debut feature film. I am the writer/director. My script is a contemporary urban drama containing minimal dialogue. I am looking for a DP with a creative eye for visual storytelling, with a instinct for brave, economical choices that serve the story/overall vision of the piece. The film will be shot in Ireland. I have a strong sense of the visual style but as I have limited experience on set I need a close, skilled, open, patient and stimulating collaborator to facilitate a creative working environment and help translate my/our agreed vision onto celluloid I have arranged a meeting with a potential DP for next weekend.. I admire his work greatly and he is passionate about the script. (and he is within our price range) These 3 points are obviously key criteria in choosing a DP to work with. IN YOUR EXPERIENCE WHAT HAVE YOU FOUND TO BE THE MOST INSTRUCTIVE SIGNS OF A POTENTIALLY FRUITFULL WORKING RELATIONSHIP? And also what have you found to be signs of A POTENTIALLY UNHEALTHY ONE? All anecdotes and words of wisdom are welcome.

Downloaded VLC (i have a mac with built in dvd) and you're right... it's easy now... Cheers lads..

This question ha been raised before but how exactly can you do a screen grab off a DVD? I believe it is possible with Final Cut Pro... but I haven't figured out how.. Any advice would be greatly appreciate as I am compiling a visual reference book for a feature I have in development to compliment the script.. Obviously most directors use films, photographs, paintings etc as visual references.. but my aim is to compile a book containing these key images grabbed off various dvds that relate to the look I want to achieve ... the framing, composition, lighting, etc.. I believe this would be immensely useful to the DP, and all the other departments heads A related question to all you DPs... what would you ideally want from a director in explaining his vision for a film? Cheers..

My mistake the turkish title is Uzak and not Dizak as I had mistakenly believed for some reason... I guess the explicit use of "Stalker" and much of the press labelling the director "the turkish tarkovsky".. lead me to compare the two.. You ask the question "is every film that's slow and pensive influeneced by the master?" To an extent I would say yes. He certainly lead the way... But they are obviously also very different filmakers expressing their own concerns.. Tarkovsky is a reasonable reference point while discussing Distant or The Return but they should be appraised on their own merits..

Tarkovsky-lite.....ok i appreciate where you're coming from, but for me The Return worked on it's own merits and although I hugely admire Tarkovsky, rarely do I find myself fully engaged, but rather at a remove, in awe at his technique. I have seen Dizak (distant) on the big screen. Tarkovsky's influence is apparent here again, yet here I entered its rhythms easily.. (perhaps you felt this to be Tarkovsky-lite too?) Maybe its as simple as the fact that I have not seen any on Tarkovsky's work on the big screen where they can better work their spell.. An director similar to Tarkovsky(sequence shots, slow pensive camera choreography) is Bela Tarr (hungary) whose Werkmeister harmonies , which I saw on the small screen, I would highly reccommend.. Hi Stephen.. yeah I presume they used a silver retention process, but I am really looking to find out which one exactly, when, and on what stock etc... Cheers though..

Has noone seen The Return? ... no replies to original post.. the cinematography, direction, actors, score are magnificent it has won many awards including the golden lion 2003 for best film & best first film Lovers of Malliick's Days of Heaven, Kieslowski, Bergman, or Tarkovsky should see this beautiful film..

Hi all.. I am an irish writer/director with my debut feature in an advanced stage of development. The projected budget is 1.5m euros. Our aim is to commence shooting in autumn this year or failing that spring next year. We will be shooting on 35mm. I have become fascinated by sequence shots and camera choreography eg. Bela Tarr's Werkmesiter Harmones, Damnation etc. If you are unaware of his work, he was a huge influence on Gus Van Sant's Gerry and Elephant. The script is currently with Chris Doyle (he has promised to read it and my producer knows him), and I am also considering Alwin Kuchler (ratcatcher/morvern caller) and Gergely Poharnak (Hukkle)..amongst others. It is important to me that the DP encourages and stimulates my natural inclination to tell the story visually whilst remaining true to the heart of each scene and the overall film. The first draft of my script was without dialogue. Once I had my narrative and the visauls told the story, I allowed the characters speak.. I believe that cinema can be closer to music or contempoary poetry and I am seeking a DP who shares my vision for this film.. I understand that I have given you very little to base your initial replies on but I would appreciate hearing your opinions on finding the right DP/director relationship. thanks PS I have written and directed 2 short films PPS. Some films of note for various reasons Hukkle - gyorgy palfi Dekalog - Kieslowski Loves of a Blonde - Milos Foreman The Return - andrey zvyagintsey Amores Perros/21 grammes - alejandro gonzalez inarritu Werkmiester Harmonies - Bela Tarr Ratcatcher - Lynne Ramsey The Good the Bad and the Ugly - Sergio Leone Code Unknown - Michael Haneke Les amants du Pont-Neuf - Leos Carax Nil By Mouth - Gary Oldman

I appreciate your passionate (if somewhat sarcastic) response. My point is simple. It is important to recognise that so-called "evil" actions are often perpetrated by those who began as idealists with a passionate and noble cause, by those who saw injustice and we compelled to take action. However you feel about what happened in Cuba after the revolution, The Motorcycle Diaries shows us the man being shaped by a genuinely noble cause. Many of the most hideous crimes against humanity have been perpertrated by those under the banner of a noble cause once it becomes twisted by the mechanisms of power. That is our all too human tragedy. A tragedy we should never forget.. There are far more offensive films being made that we watch with our popcorn !

This has become an interesting, revealing thread. Motorcycle diaries is a flawed film but it bravely humanises a man who has been wrongly lauded and wrongly vilified. Some of you feel it distasteful to humanise Che but lets not forget that he was human, and in this film a young man on a journey that would shape his ideals. Like all idealists, harsh realities would dawn at a price for many who came to share his ideals. To damn this film without seeing it or to damn che without looking at the big picture is foolish, prejudiced and hypocritical in the extreme. I too detest the fetishistaion of Che, as the the symbol of rebellion... this film serves to bring him back to earth to ground the man in his humanity..

I haven't seen "The Magician". I have heard that it is widely underrated, and one of his more comic films. I have managed to find someone in Hungary(an irish guy living there) to get a copy of Hukkle for me. I don't know if possible to get region 1 but might be possible to get region zero.. go to www.netpiac.hu and find someone to translate. As said before though it is very expensive to post/deliver. Have look at www.hukklefilm.hu official website too.

Jude fu**ing law!!!! Moby to be music superviser !!! an american film!!!? Supposedly new order support the project but then have you heard their new album? I loved 24hour party people.. one of funniest films in years Ian has been exploited enough though... his music is his legacy... But then again you never know might turn out to be a great film but very hard to feel optimistic..

Van Sant has stated his admiration for Bela Tarr the hungarian director (very long takes, elaborately choreographed camera movement).. if you appreciated Elephant and/or Gerry (my favorite of the two) you really should check out Tarr. Also worth noting is Alan Clarkes TV film Elephant which van sant openly admits as huge influence. As far as structure is concerned and the many comments relating to "script courses" etc. as Chris Doyle, who shot van sants (misunderstood but rather academic) exploration of color v b/w photography in his shot by shot remake of Psycho, has said "its musicality: repetition, coherence, rhythm, structure. It's all about music. It's ideas translated into light. Its words as colors. Movies mean moving images and don't forget the image part. We've got this whole industry that's proliferating the idea of the word as the basis for filmaking - the word, the text, no, no no. Why does a film have to explain things to you? you don't expect explanations from a bus? or a glass of beer? why should we expect explanations?" (vertigo vol 2 no 8 sping/summer 2005) That is not to say ignore dialogue rather to push this often jaded western industry to shake off its preconceptions and strictures, become reinvigorated by the possibilities of cinema and create works of art that move and enlighten our spirit, not cinema as escapist entertainment but a cinema that embraces life and all its contradictions. It is no accident that the most provocative cinema is coming from the east, and i include eastern europe here.. these are countries fighting the colonisation of the american image/structure system and twisting it to make it sing in their own unique voice.. This is as its always been those who struggle find true freedom in themselves..

just wanted to alert everyone to the extraorinary debut feature HUKKLE film by Gyorgy Palfi. The most remarkable thing about this film is that there is no dialogue. This is an audio and visual delight from beginning to end. The cinematography is exquisite and full of surprises. And the soundtrack... is life..(hukkle is the onomatopoeic word of someone hiccuping) Without doubt to my mind this is the cinematic event of the last decade.. (anyone who thinks it was the matrix is in the matrix) I strongly encourage anyone who loves cinema and rails against its lack of imagination to see this film and be reinvigorated, and see the world and cinema afresh with wonder at its possibilities.. By the way there is a thriller narrative happening in the background throughout the film but the camera always discovers something far more interesting to observe Check out the very clever website www.hukkle.hu for more info. NOTE: this film is very hard to get on DVD.. and i have been trying. i have even got the hungarian embassey helping me now to translate a website www.netpiac.hu where it is possible to buy, but unbelieveably expensive to post overseas for some reason.. but this film is worth it... A Few of my FAVORITE FILMS (excluding most of the yawningly obvious): Loves of a Blonde - Milos Foreman The Good The Bad and The Ugly - sergio leone Dekalog - krzysztof kieslowski The Return - andrey zvyagintsev (mentioned in previous post) Persona - ingmar bergman cul-de-sac - roman polanski down by law - jim jarmusch Hukkle - Gyorgy Palfi

I'd appreciate learning more about the stock and chemical processing used in The Return. Andrei Zvyagintsev's masterful debut THE RETURN, photographed by Mikhail Krichman, has to be one the most exquisitly composed and lit films of the last few years, if not of all time. "The Film of the film" documentary on the dvd is extremely enlightening and moving as all of those involved in the film clearly felt deeply about what they were trying to achieve. The film has a religious luminousity similar to NÎstor Almendros's magic-hour cinematography in Days of Heaven. The return was shot in an area of northern russia that experiences 24hr sunlight.. In an interview the director explained that "For our color solution, in search of a common language, we used examples from movies and painting. Finally, Mikhail suggested a chemical process of film development that allowed fading colors to such an extent as to make a picture in sharp contrast and as close to monochromatic as you can see in pictures by Vermeer and Rembrandt. " Does anyone know what chemical process they could have used or which film stock? Any information would be useful...cheers Another film that I would love to learn more about is the non dialogue hungarian film HUKKLE by Gyorgy Palfi...A dream job for any DOP..PS. very difficult to get on DVD but possible through www.netpiac.hu

Andrei Zvyagintsev's masterful debut THE RETURN, photographed by Mikhail Krichman, has to be one the most exquisitly composed and lit films of the last few years, if not of all time. "The Film of the film" documentary on the dvd is extremely enlightening and moving as all of those involved in the film clearly felt deeply about what they were trying to achieve. The film has a religious luminousity similar to NÎstor Almendros's magic-hour cinematography in Days of Heaven. The return was shot in an area of northern russia that experiences 24hr sunlight.. In an interview the director explained that "For our color solution, in search of a common language, we used examples from movies and painting. Finally, Mikhail suggested a chemical process of film development that allowed fading colors to such an extent as to make a picture in sharp contrast and as close to monochromatic as you can see in pictures by Vermeer and Rembrandt. " Does anyone know what chemical process they could have used or which film stock? Any information would be appreciated. Another film that I would love to learn more about is the non dialogue hungarian film HUKKLE by Gyorgy Palfi...How did they make such an extroadinary film?