The Imposter is an incredible film not just because it tells a fascinating story of deception but because the story is unbelievably true and the cinematography by Erik Alexander Wilson is visually compelling from start to finish.
Directed by Bart Layton, The Imposter is neither a traditional documentary nor a straight up narrative fiction film
– it’s both and better for it as it unfolds dramatic reconstructions of real life events that owe more to the genre of movies like Chinatown than Crimewatch.
People love to pigeonhole and film festivals, in particular, want to categorise so you can go ahead and ask the question – is this a drama or a documentary??? But either way it doesn’t really matter – it’s just a great film that uses the language of cinema to tell a tale that just happens to be true.
‘The Impossible Dream’ is the surreal visual journey of young surfer Will Davey immersed in a world of water, waves and wipeouts – endlessly searching for perfection and a path to his ultimate destiny.
I started out as a student shooting black and white film with the red filter – which I hand printed on high contrast paper for added emphasis. I loved the monochrome cinematography of Andrei Tarkovsky and the wide angled world of photographers like Bill Brandt so I guess with this project I’ve returned to my roots and to the people that first inspired me to pick up a camera.
FLAMING YOUTH – a book of photographs by Glendyn Irvin from Puberty Blues.
I’ve been following this mega talented image maker since I first saw Cracker Bag and thereafter the brilliant Playground so I was excited to share his latest project – in his own words & photographs and available here
I started documenting the making of the show from the start. Like visual notes the photographs became part of the process of discovery of how the series would look and feel. From casting and location scouting to scene ideas, documenting a colour or how the light looked at a certain time of day. What worked, what didn’t. The people, places and things that make up the texture and tone of Puberty Blues.
Most of the time the photos were taken in the moments just before ‘Action!’ was called. Or in-between ‘takes’ to maintain focus and momentum throughout the stop / start rhythm of shooting. That small amount of precious time just before the cameras roll. I would sometimes take a quick shot just as that moment of transformation would take place, from ‘actor’ to ‘character’.
Sometimes the photo would become the key on how to shoot a scene. A way of trying to find the essence, or a reduction to a single image. An attempt to find stillness in and amongst the chaos of a film shoot.
It is the twilight of a grand old movie star’s life. Poor health and old age have robbed her of her glamour, her career and now -probably within hours – her life. The end is near. She arrives, surrounded by her parasitic entourage, at a cinema for a private showing of her greatest screen moments. Kicking the hangers-on out, she sits alone in the dark as the light of the projector illuminates the silver screen and her previous youth and beauty. In a daring escape from the inevitable, she enters the screen and is suddenly back in her movies – a star once more. She tumbles from genre to genre in scenes taking in the silent era, film noir, ’70s sci-fi sexploitation and ’90s sitcom land. It is a desperate attempt to outsmart and outrun the apparition of death itself, which pursues her through the scenes. Inevitable or not – this old movie diva isn’t going without a fight. This is the story of a shooting star who refuses to fade away or go gently into that good night.
Starring Sadie Frost, Perry Benson, Sally Phillips and Morgana Robinson.
Produced by Ben Charles Edwards/The Smalls.
Directed by Ben Charles Edwards.
Written by Al Joshua
Director of Photography John Hicks