It's a theater of performance that we're all lucky to be around if you can be. That always has been important to me because I feel like that three meters around the performance is a hallowed space, if you will. It was very important for me to be able to operate on this movie and for me to be able to, with the backing of my director and the trust of the actors, allow me into their bubble and allow me into their space.Ī big part of that is really just by presenting an energy and presenting a presence as an operator and as a cinematographer on set and in their lives as somebody who they can trust, somebody who doesn't come with any form of judgment, that hopefully has a presence, that does not disturb, or it doesn't distract, and ultimately be a position of warmth and support when in their very, very personal space. You feed off the movement of the character's emotions, you feed off the evolution of what the blocking becomes, you feed off what the actors do with one another. The reason why I love to operate is because I feel like in the act of operating, you translate the intrinsic energy of a scene. As a cinematographer, I do love to operate. It was very clear that there needed to be a very thin boundary between the character and what the character was going through. Ramsay: So for me, when you read a script and you start to have your discussions with your director, that's when you develop the feeling of the film, how you think the film should feel. What was your approach for shooting these intimate scenes? NFS: All of Us Strangers explores a lot of big themes, but it really shines in its small moments exploring the heartfelt nature of relationships.
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