ARRI Rental proudly supports Sundance filmmakers
Cinematographers with films at the 2018 Sundance Film Festival share their thoughts on the projects, the equipment they used and the support provided by ARRI Rental.
ARRI Rental is proud to have serviced a number of films screening at this year’s Sundance Film Festival in Utah. They include numerous entrants in the U.S. Dramatic Competition and World Cinema Dramatic Competition, as well as several premieres.
Cinematographer Pepe Avila del Pino shot THE KINDERGARTEN TEACHER, directed by Sara Colangelo, with ALEXA Mini cameras and Cooke anamorphic lenses supplied by ARRI Rental New York. “I think Sundance is the perfect place for this film to have its world premiere and I'm really excited to see how audiences will react to it,” he says. “This is the first time that a project I'm involved in is part of the festival.”
The film had limited resources, a very small crew and a super-tight schedule. “Things were also complicated because one of our main actors was a six-year-old boy and shooting schedules had to be built around his limited time on set,” continues del Pino. “In the end, the project needed the passion and commitment of everyone, and I think that translated to the screen.”
Familiarity with the image quality was a factor in del Pino choosing ALEXA. “I love the image quality and feel very comfortable knowing what the results will be and where I can take it in the DI,” he says. “As for the Cooke anamorphic lenses...I think they're a really good match with the ALEXA sensor and suited our locations, colors, characters, and framing. The service from ARRI Rental was impeccable, as always, and their technical support went beyond their responsibilities to make sure everything flowed effortlessly during the production.”
For the film LIZZIE, directed by Craig William Macneill, cinematographer Noah Greenberg opted to combine ALEXA SXT cameras with Cooke Speed Panchros and ARRI/FUJINON Alura Studio Zooms. “We chose the ALEXA because we love its color science; the way it renders skin tones and its elegant roll-off in both the highlights and shadows,” says Greenberg.
A particular challenge on the production was shooting modern-day Savannah, Georgia to look like 1890s Fall River, Massachusetts. Greenberg cites as crucial his strong relationship with Macneill and the collaborative spirit of a talented crew. “Also,” he notes, “we could not have gotten the film made without the generosity of the ARRI Rental teams in both Atlanta and New York, especially the support of Lynn ‘Gus’ Gustafson. They were able to get us the gear we needed and handle any technical questions that arose during production. It is a tremendous honor to premiere LIZZIE in competition at Sundance, and I know that the festival will afford the film the best opportunity to find its audience.”
Irish cinematographer John Conroy has two films at the festival. THE HAPPY PRINCE, an Oscar Wilde biopic written and directed by—and starring—Rupert Everett, was serviced by ARRI Rental Germany and has its premiere at Sundance. YARDIE, a crime drama directed by Idris Elba, was serviced by ARRI Rental UK and is screening in the World Cinema Dramatic Competition. For both movies, Conroy paired ALEXA cameras with ARRI/ZEISS Master Anamorphic lenses.
“I really hope THE HAPPY PRINCE finds an audience at Sundance,” says Conroy. “Fundamentally the film is focused on performance and I think that Sundance, more than anything, appreciates performance, so from that point of view—and for Rupert—I’m delighted that it’s there. And of course I’m delighted for Idris too; it’s amazing to have two films at the festival.”
Being mid-way through another project, Conroy is unable to travel to Utah. “But to be honest,” he says, “I prefer to be shooting. If you gave me a choice I’d shoot every day of the week, if I could. It might be nice to go there and have a party, but I’m on a great project now and I wouldn’t miss that for the world.”
ARRI Rental congratulates these and all the other films at Sundance that it serviced and supported. They include BURDEN, directed by Andrew Heckler and shot by Jeremy Rouse; I THINK WE’RE ALONE NOW, directed and shot by Reed Morano ASC; MONSTER, directed by Anthony Mandler and shot by David Devlin; JULIET, NAKED, directed by Jesse Peretz and shot by Remi Adefarasin OBE, BSC; and COLETTE, directed by Wash Westmoreland and shot by Giles Nuttgens BSC.