{"id":2562,"date":"2010-06-25T09:21:00","date_gmt":"2010-06-25T08:21:00","guid":{"rendered":"https:\/\/www.artfilmfest.sk\/en\/blog\/uncategorized\/2010\/06\/a-cinematographer-has-to-adapt-to-each-director\/"},"modified":"2016-02-08T12:37:47","modified_gmt":"2016-02-08T11:37:47","slug":"a-cinematographer-has-to-adapt-to-each-director","status":"publish","type":"post","link":"https:\/\/iffartfilm.com\/en\/blog\/highlights\/2010\/06\/a-cinematographer-has-to-adapt-to-each-director\/","title":{"rendered":"A cinematographer has to adapt to each director"},"content":{"rendered":"

While you’ve shot a great number of films, your cinematographic work is particularly associated with \u0160tefan Uher, with whom you\u2019ve created the most pictures. What was this mutual understanding based on, and how did you influenced each other? <\/span><\/b> First I should point out that it was I who realized all of Uher\u2019s films. From his first film U\u010dite\u013eka <\/i>(The Teacher), to his last film Skanzen <\/i>(Curator of Outdoor Museum), which were collaborations with other directors. I\u2019m not sure whether it was my luck or his. We never expected to meet. We always went from film to film, it was always the first and last project, and both of us were completely free. When one is a cinematographer or director, the most important thing is the final product, which either brings people together or divides them. I was lucky that in our case, it brought us together. After Slnko v sieti <\/i>(Sun in a Net), I made Organ<\/i>, then Three Daughters<\/i>. I enjoyed it, because every project came from a completely different place in terms of its script and themes. With every film I had the feeling that our collaboration had only just begun.<\/span>  <\/span><\/b> Some may think that work with the same director is simple, that you become a well-oiled machine. At the same time it must be equally demanding to constantly search for new avenues and new means of expression, to make every one of your joint efforts something special. How well did you manage to achieve that?<\/span><\/b> That\u2019s a good question. When a film is being made and thought out, this shouldn\u2019t be done by a single person. It\u2019s better to conjure up ideas as a pair. It\u2019s easier to open your mind, because when one thinks up something, the other can always said that it\u2019s nonsense. When we are two, we either make nonsense or we do serious work.<\/span>  <\/span> Did you always somehow reach an agreement?<\/span><\/b> We always agreed, but division of labour was important, which is what I liked about it. Individual takes and scenes weren\u2019t shot in chronological order; we made them according to the production plan. The director had to keep the dramatic arc in mind. He had to understand the actor\u2019s development. But I always focused on the creation of images. I had Uher\u2019s trust, and I enjoyed that. I always knew what we were going to do. I set up the camera, prepared the take and flashed on the lights, and I loved when it was all ready and I could tell him to look into the camera. At the beginning he supervised me, but then we built up such mutual trust that it was enough for him to see the final product. At that time, cooperation was very difficult for me because I had an assistant, but Uher wanted me to do everything myself. I was the film\u2019s first viewer. When I didn’t like something, the assistants wanted to re-do the take. But for technical reasons we couldn\u2019t allow that. We had to more or less shoot with our fingers crossed. I think we had a lovely partnership and that makes me happy. <\/span>  <\/span> But you\u2019ve also worked with other directors\u2026<\/span><\/b> A cinematographer has to adapt to each director. Their way of thinking, their moral code, and their visual conceptions. There\u2019s no way around it. Uher and I were very close. Martin Holl\u00fd, for example, had a different view of actors’ performances and a larger-scale idea of the story. And Barab\u00e1\u0161 was something else altogether. I could talk about each one of them\u2026 I had the energy, power and ability to adapt, to give rise to the specific creative atmosphere that each required. A cinematographer can stand on his head, but the director has to feel like he’s done everything himself. In the end, he’s the one who has to answer for it.<\/span>  <\/span> You never had any conflicts?<\/span><\/b> There were conflicts, but they weren\u2019t rooted in us as people. Conflicts are created by environment, weather, fatigue. Collaborators aren’t always on the same wavelength.<\/span>  <\/span> Has a director ever told you that you\u2019ve done a bad take?<\/span><\/b> No one has ever told me that I\u2019ve done something badly. We filmmakers have it hard, because if someone doesn’t like my work, they won’t approach me ever again. It\u2019s an unwritten rule. And for the directors I’ve worked with, you can’t allow even a whiff of such problems, because then you\u2019re banking on something else altogether.<\/span>  <\/span> Which of your films is your favourite?<\/span><\/b> I\u2019m not a \u201cwatcher\u201d of my own films. But now when I was working on digitizing them, I had to watch them, and I even took a liking to them. I say to myself: My god, you made this? This masterpiece? And that makes me happy.<\/span>  <\/span> The film Organ<\/i> is a visual tour de force. The cinematography is brilliant. Did it take long for you to find the proper visual approach to this film? <\/span><\/b> You describe it so beautifully \u2013 I don’t think I could say it any better. I believe that Organ<\/i> was the first wide-screen Slovak film, and we composed it painstakingly, as we thought it was a world-class innovation. But that aesthetic and the desire to shoot wide-screen films subsequently vanished. <\/span>  <\/span><\/b> In your pictures, you like to use slow camera movements, panning shots and panoramas, through which you create a montage within a single shot. In the film Miraculous Virgin<\/i>, you beautifully captured a railway station lobby which becomes a sacred place. The cruciform cupolas evoke a cathedral, and you transform the train-station benches into church pews…  <\/span><\/b> Miraculous Virgin <\/span><\/i>is something astonishing, my dream factory. It came close to surrealism. The story wasn\u2019t clear-cut; it was more based on feelings. We attempted to recast the setting and situation we ended up with into a form that went beyond reality. To connect the imagined and the real, to search for a feasible link between the two.  <\/span> I screened the film in Uhersk\u00e9 Hradi\u0161t\u011b, and around six hundred people came, a full house. No one walked out except one lady. And even she came back from the lavatory after a bit [laughs]. I think the people were in a very good mood. As I watched them, I felt that they lacked feeling. Miraculous Virgin<\/i> opened their minds to the fantastic, and all at once they could create a space in their minds and embark on their own voyages. They were able to free their imaginations. Surrealism doesn\u2019t provide a clear answer. Whether you accept it depends on your current state of mind and how you choose to view the world around you. It is very much dependent on the people who perceive it. They have to have a certain cultural literacy. It\u2019s like with fine art. Some like realistic paintings, some like more complicated ones, and others prefer free painting. When I came to Prague as a student, I was very inhibited, but when I began visiting galleries, I somehow loosened up. And I understood that this has to be somehow developed in a person.<\/span>  <\/span><\/b> What do you enjoy doing? Do you have hobbies outside of film and school?<\/span><\/b> I like fine art, my artist friends, visiting their studios\u2026<\/span>  <\/span><\/b> And do you yourself paint?<\/span><\/b> I haven\u2019t quite arrived at painting yet [laughs]. And I don\u2019t think I ever will. But I envy my friends who aren’t painters, but are so at peace with themselves that they can still just sit down and paint a picture. <\/span>  <\/span> You have received numerous awards for your work. Does this award in Tren\u010dianske Teplice have a particular significance for you? I do know that you attend our festival regularly; what about it attracts you? <\/span><\/b> I love coming to Tren\u010dianske Teplice, because I feel good here.<\/span> I have filmmaker colleagues here who I’m very close to, and the place itself it is dear to my heart, even in terms of its geology; I feel at home here. And about the award\u2026 It gives me satisfaction. When you fill your whole life with work, you later gain a feeling of contentment, that it wasn\u2019t all for naught. And the awards are always decided by experts. Sometimes I also see it as their business card [laughs]. It\u2019s like in school: When there\u2019s a bad student, then I can’t be sure whether he himself is bad or if it\u2019s actually me, his teacher.  <\/span> Nina \u0160ilanov\u00e1<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

While you’ve shot a great number of films, your cinematographic work is particularly associated with \u0160tefan Uher,","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16,17],"tags":[],"class_list":["post-2562","post","type-post","status-publish","format-standard","hentry","category-highlights","category-news"],"acf":[],"yoast_head":"\nA cinematographer has to adapt to each director • IFF ART FILM<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/iffartfilm.com\/en\/blog\/highlights\/2010\/06\/a-cinematographer-has-to-adapt-to-each-director\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A cinematographer has to adapt 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