e From early on in preproduction we have references of the world we are trying
e to create. These references can be lighting, colors, tone, mood, framing,
e expanse, etc. Then we have discussions on how the camera will move and
the style of framing. By the time we get to set, I am executing the plan we
have created.
uss
g As far as gaffers, I am really strong in that department. I’ve never had a
- gaffer light a set for me. I will listen to ideas, of course.
a
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during a shoot.
N o w , s p e a k i n g o f n a t u r e - y o u g o t t o d i r e c t t h i s g r e a t v i d e o f o r y o u r d a u g h t e r
S o f i a . I b e l i e v e t h i s i s h e r a c t u a l r e a l m u s i c v i d e o - h o w t h e i d e a f o r t h e f i l m
c o m e t o g e t h e r ?
Oh funny. Some people shoot fruit, people and charts for their camera tests. I
choose to shoot my daughters in real lighting conditions. I have shot their
violin concerts with technocranes, moving lights and LED screens and more
and in the end, I usually have something better than fruits and charts. For the
I am involved with VFX, but I am also heavily involved with the production video you saw with my eldest daughter Sofia, I was testing drones for Granite
Mountain. I showed the footage to director Joseph Kosinski and he really
designer. Above everyone else, I am involved with the director.
liked the look, so we used the system on our movie.
S p e a k i n g o f T r o n : L e g a c y , y o u r n e x t f i l m i s d i r e c t e d b y i t s d i r e c t o r , J o s e p h
K o s i n s k i - w e r e y o u i n t o u c h a l l t h i s y e a r o r h o w d i d y o u c o m e o n b o a r d i n t o I b e l i e v e t h i s i s y o u r f i r s t d i r e c t o r i a l w o r k t h o u g h y o u h a v e p r e v i o u s l y s h o t
s o m e o t h e r m u s i c v i d e o s - w h a t i n s p i r e d y o u t o m a k e a n a t u r e - b a s e d v i d e o ?
t h i s p r o j e c t ?
Joseph and I get along really well. I have done all his movies and will most I don’t want to direct: I’m a happy DP. I was testing for Granite Mountain and
likely do the next. We have done really inventive work. The one I am most needed to shoot mountains.
proud of is our work on Oblivion. We created a 500’x 45’ screen and lit and
surrounded the screen with over 20 projectors. Most of the shots in the H o w d i d y o u r p r e v i o u s b a c k g r o u n d o n m u s i c v i d e o s h e l p y o u w i t h t h i s o n e ?
SkyTower were all in camera. It worked out so beautifully. Maybe that is why I Many of the locations I picked were previous music video locations.
am around.
H o w w a s t h e s c o u t i n g p r o c e s s ?
G r a n i t e M o u n t a i n i s b a s e d o n a r e a l s t o r y - h o w w a s t h e r e s e a r c h p r o c e s s ? I would drive by myself and scout the locations and figure where the sun was
going and where I wanted to be. I was shooting with my daughter Sofia and I
D i d y o u g e t t o g o t o Y a r n e l l H i l l ? W h a t d i d y o u f o c u s m o r e o n ?
Granite Mountain was the least amount of prep I’ve had to do for a movie. really did not want long days. We only shot for a maximum of three hours per
Mainly because most of everything we shot was in real locations. There were location. Some of the locations did have a long drive time.
no large set builds. I did do extensive camera tests with fire and looked at
how each camera handled fire. I also wanted to test drones for this job which H o w w a s t h e f i l m e x p e r i e n c e ?
I love my daughters. I also love learning.
is how the Bach Double music video got started.
o
I
n
o
o
e A r e y o u b a s i n g t h e p h o t o g r a p h y o n t h e a c t u a l e v e n t o r t h e p s y c h o l o g y o f t h e A s S o f i a i s r e l e a s i n g a n e w a l b u m - a r e t h e r e a n y m o r e p l a n s o n
c o l l a b o r a t i n g a g a i n ?
g c h a r a c t e r s ?
Of course. Many more things to test. She is constantly pitching ideas to me. I
b I base the photography on the story and the mood that serves the story.
also need to do something for my youngest daughter.
H a s t h e r e b e e n a n y c h a l l e n g e s ?
W h a t e l s e i s h a p p e n i n g n e x t i n C l a u d i o M i r a n d a ' s w o r l d ?
enn Fire is hot!
Possibly the next Top Gun with Joseph Kosinski.
e
e r I broke my collarbone on the job, which made filming hard. Production took
very good care of me and were extraordinarily kind. I no longer ride bikes