Often with low-budget filmmaking, the tendency is to reach for cinematography with a realistic look that’s rooted in the use of natural light sources. That description, though, has never applied to indie legend Gregg Araki and it certainly didn’t apply to his first foray into a TV, “Now Apocalypse.” It was something cinematographer Sandra Valde-Hansen discovered working with Araki on two features, “Kaboom” and “White Bird in a Blizzard.”
“I was two years out of AFI and getting the opportunity to work for Gregg opened up my visual world,” said Valde-Hansen, who appear who appeared at IndieWire’s Consider This Fyc Brunch. “He introduced me to a world where, given the limited resources, we can actually play with color and light and still come under budget and limited time frame.”
While Valde-Hansen, who was mentored in more of a doc-realism approach to cinematography, had always used her favorite street photographers for references,...
“I was two years out of AFI and getting the opportunity to work for Gregg opened up my visual world,” said Valde-Hansen, who appear who appeared at IndieWire’s Consider This Fyc Brunch. “He introduced me to a world where, given the limited resources, we can actually play with color and light and still come under budget and limited time frame.”
While Valde-Hansen, who was mentored in more of a doc-realism approach to cinematography, had always used her favorite street photographers for references,...
- 6/3/2019
- by Chris O'Falt
- Indiewire
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