Photo of Jose David Montero, Sigfrid Monleón new film was shot in Super 16mm film Kodak Vision. EPC provided for filming in Spain the Arriflex 416 Plus with ARRI/Zeiss Ultra 16 lenses and Ultra Prime game, among other material such as zoom, Angenieux Optimo 15-40 or the ARRIflex 16 SR3.
The controversy the consul of Sodom, and one of the first most anticipated films of the year, presented on screen with all naturalness and harshness life of key member Jaime Gil de Biedma (1929-1990), poet of the generation of the 50. Under the direction of Sigfrid Monleón, José David Montero has been at the forefront of photography counting for EPC Sensor some details of his work in this film inspired by the biography he wrote Miguel Dalmau on the poet.
The consul of Sodom It was shot in febrebro, March and April of last year, eight weeks in locations in Barcelona and Madrid then continue intensive two weeks in the Philippines, in Manila. It was shot in Super 16 mm film Kodak Vision and EPC provided for filming in Spain the ARRIflex 416 Plus with ARRI/Zeiss Ultra 16 lenses and Ultra Prime game, among other material such as zoom, Angenieux Optimo 15-40 or the ARRIflex 16 SR3.
“The consul of Sodom It is inspired in a biography, but it is also a classic melodrama", features director of photography Jose David Montero. "We had a film that takes place primarily in the 1960s but the director wanted to distance it at the time and had an aesthetic with a certain air of 'camp'. The aestheticism of the films of the 60's, very 'kitsch', although not so carried to the extreme. We also saw some films of Fassbinder, who had that air. The classic Hollywood melodramas were the reference, even older like Josef von Sternberg, Douglas Sirk, Stahl... In fact, in the consul of Sodom is named some of these movies", he says.
These visual references, the logical choice was filming in support film and chose Super 16 mm format. "The director wanted to make evident the film emulsion grain and roll with that texture that gives you Super 16. In addition, we build us women stockings with special filters to give a stale texture", tells José David Montero. "We shot the old way," added, and jokes, "until the director said ' we will put the average of the Montiel".
To create that atmosphere of dream chasing, they chose very clear objectives such as the Ultra Prime and Arri/Zeiss Ultra 16, outweighing blur where to put the average, says the director of photography. "So we got a texture that was very well defined and at the same time was old texture, which was what the director wanted."
Regarding the use of the camera, the entire film is raised on a small crane and with minimal movements. "The film is quite classical in the sense of camera movements to accompany the characters without stridency. There are few emphatic movements, they are very soft,"explains José David Montero to the EPC Sensor, who also worked with shallow depth of field to stop look more on the characters than in the scenarios in which runs the story.
The entire film was filmed with the ARRIflex 416 Plus in Spain, with the exception of a day that were also used to support the ARRIflex SR3. "The 416 Plus is a camera that is fine. As we had many locations and were shooting in natural areas, it had to be very fast, and Super 16 facilitates this agility in shooting." The two weeks in Manila, which meant one greater effort to make the most of the time, used the SR3. "In the Philippines not be wheel almost S16, and in the end got a SR3 that came from China, but we use the same optical", tells José David Montero.
José David Montero recognises his preference for the "flat end of the movie but don't want to gut it." Defines quite well the theatrical aesthetic that Sigfrid Monleón both wanted to start onstage as for interpretation. It is a very long plane of three minutes, travelling, which ends with a close-up of Jordi Mollà. This last scene is a little summary of the film and is very representative of the intention of the camera and light. I prefer this image".
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