Brazil camera chat
Chris Menges employs some long-distance shots to take advantage of South Yorkshire’s contrasting scenery.
At one end, there is the beautiful green countryside (the place where a boy like Billy – the main star of the film – can enjoy some peace, away from the bullying at school and the quarrels at home), while at the other end, the quiet but depressing little towns, with a clear view of the nearby mines and industrial establishments (the most probable life destination for all the youngsters of the area).
It represents the overall vision of the director, the skill of the director of principal photography, and their ongoing collaboration throughout the filmmaking process.
Since the beginning of feature films in the first decade of the 20th century, many of the pioneering techniques have been used extensively, maximizing not only the possibilities of each era’s camera technologies, but also the level of artistry in motion pictures.
This is a film that could have been made without any dialogue; the camera does the speaking, as we are witnessing a pure cinematic explosion of genius.
In each story, there are a number of virtuosic dolly shots of the basic characters’ gatherings, which give a romantic tone to the whole project.
As Aristotle quotes, “the aim of art is to represent not the outward appearance of things, but their inward significance”.
This translated to a constructed set on location from the start, in order to get the best performances out of his cast, and the innovative (at the time) use of multiple cameras for the action sequences.Any filmmakers who have mastered all those classic camera techniques mentioned above, and are lucky enough to have a well-written screenplay on their hands, plus an efficient crew to surround them, meet the requirements to make a good film.But to make a great film, you need a bit of that extra magic that separates the true visionaries of the medium (those who challenge the audiences to follow them in their often uncompromising and non-mainstream cinematic ventures) from the dexterous craftsmen (those who depend on their technical expertise in order to impress the largest possible amount of viewers, incorporating the “entertainment” factor into their work).The result was a rare mix of surrealist humor and downbeat beauty.Müller used slow-moving camerawork and natural day and night lighting, which were perfect fits for the three loners of the movie, the empty streets of New Orleans, and Waits and Lurie’s hypnotic soundtrack (both the composers and stars of the film).