![]() Screenplay was an enormous challenge but also fun.ĭo you have a particular genre you like to work with? I think the greatest challenge that I have posed to myself is doing things which I had never been a part of before, like directing a performance. ![]() When you start directing, there is a much broader spectrum - it is about screenplay, performances, editing - all these other elements come into play. As a cinematographer, you are focussed on the image. There are the obvious differences between cinematography and direction. What is your biggest challenge as a cinematographer-turned-director? It is what set my career in motion in this industry and in this town. I am indebted forever to Christopher for having allowed me to be a part of that. Films like The Dark Knight, Inception or The Prestige - all of them are part of Hollywood history. I have done seven films with Christopher Nolan. How has it been working with Christopher Nolan? I don’t think a director can be dictatorial. If you are clever enough to have intelligent actors working with you, then you are discussing the nuances and the psychology of the characters you are able to have a great dialogue as to what those characters should be doing. So, you are clearly collaborating with the studio as well as the artistes - the production designer, the cinematographer and, obviously, your greatest collaborators are your performers, the actors. While it is always the director’s decision on how something is to be filmed and presented, the director is answerable to the producer and the studio for what ends up on screen. What are your thoughts on collaborations?įilm is a collaborative medium. I have worked with Morgan Freeman I knew him quite well. Once Johnny came on board, we were able to go out to the other actors. I was fortunate that Johnny Depp read the screenplay and was interested in the film. We needed to have a star big enough to carry the movie. That the heart of man will win over the machine. I think, in the end, we conclude that he is not evil (laughs). With Caster’s character, the thing I wanted to explore is he good or evil, malevolent or benevolent. The film I wanted to make was one that showed it is all possible and t really is up to the person controlling it. So, I think, that is the stage for the paranoia and, of course, the utopia part of it is the incredible things we can do with technology in terms of creating an ideal world. ![]() The question all the while is when you take a man and upload him onto a machine, a computer, you are basically capturing all this, elements of malevolence, benevolence… is it good or evil, is the real question. The Independent review said the film treads a “fairly well-judged path between paranoia and technological utopianism.” Comment. What initially struck me was that this was essentially a human drama interwoven with technology, with the question of whether technology was benevolent or malevolent and also the effect of technology in our daily world. I read it and thought there were elements that would be fun to explore. I was looking for a project to direct and my agent passed it to me. The 54-year-old director chats with Mini Anthikad Chhibber about technology, collaborations and inspiration. The 2014 film dwells on the moral debate around that action. Transcendence tells the story of a scientist, Will Caster, who cheats death by downloading his brain onto a computer. The director of photography for seven of Christopher Nolan’s films, including the Batman trilogy, spoke on the phone from Los Angeles about his directorial debut, Transcendence, which will premiere on July 26 at 1 p.m. Though cinematographer Wally Pfister prefers to work with darker material, he has a sunny outlook and laughs a lot.
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