U2 Anton Corbijn

[Gene Cryder]

aboutthe shooting of it: we always knew that we would have little money and time to have the best control over the look we wnated to create. we tested kodak b&w film stocks but did not like the heavy grain and the very limited choice of sensitvies. as you might know kodak did not spent much energy lately on developing or enhancing any b&w stocks. so we decided to shoot everything on kodak vision two 5217. only for the concerts we used 5218. we wanted those to look and feel a little rougher.

we knew from the start that we would use the DI process. we ended up doing the grade in stockholm at a company called chimney pot. i think they did a great job for us. there are many reasons to go that route. with our limited resources it was impossible to do a lot of testing or special development for the final copies. we did some copies on black and white print stock, but for the general release that proved to expensive. it is very difficult to print real b&w on color print stock as the slightest offset in the process results into a tined picture. henrik at chimney helped us a lot.

working together with anton was great. he is a very respectful yet very decisive director. during prep we spoke a lot about the feel which we wanted to create. we did not really settle or imitate any photographs, we went more for a general feel of it. like we liked a lot films like KES for example. during the shoot, anton let me light the shots and then if there was something which he did not like we would alter things til we both felt fine. it was his first feature so we worked together very closely. in his photography anton uses a lot of available light so our lighting should feel very natural, beautiful without getting in the way of the story. we did the same thing with movement. everything is very simple, there's only one crane shot and only one steadicam shot in it...

i really enjoyed working with anton a lot. the big advantage of working with a photographer like him, was that we were able to move fast as he always knew how he wanted the movie to look. working aside him, many people might think that it is his style which we brought to screen and that it follows that. that's fair enough, but i do feel there's a lot of me in it.

A black-and-white image printed onto color print stock is very critical for color balance. The slightest difference in printer balance or processing will give a slight color change between reels. Much more noticeable than with a color image.

A gaffed an Indie feature which mixed some 7222 with ECN. We saw a difference between the B&W which was on the A roll and that on the B roll. Maybe they changed a lamp. (Good argument to either have all the B&W on one or - more safely do as C roll. For those of you still printing from camera originals !)

I used to project lots of classic b/w films at a rep theater on a changeover system, and sometimes it's just the difference in color between the lamps - usually on the magenta/green axis. The thing is that your color perception will adapt until the image appears completely monochrome - which is a combination of the Abney effect and color opposition. When the reel change occurs, this sudden shift will highlight your perceptive "color bias". In other words, your mind will time a slightly magenta b/w image by adding green. When the reel shifts to a neutral balance, this reel will briefly appear greenish. But even if it were slightly green, you'd also cognitively shift it back to b/w anyway.

Dutch filmmaker Anton Corbijn, known for unique and award-winning feature films like Control [+see also:

trailer

film profile], The American or A Most Wanted Man [+see also:

trailer

making of

film profile], is preparing to shoot a new thriller, titled Switzerland. Parts of it will be shot in different parts of the country of the same name. Production is expected to begin between autumn and winter 2024. Shooting will take place in several places, among them the German-speaking city of Zurich in the East of Switzerland and the Italian-speaking canton of Ticino in the South.

The Swiss-British co-production will see a fictional version of author Patricia Highsmith involved in a stressful relationship with her ambitious literary agent. The US American author Highsmith, who spent the last days of her life in Switzerland, will be played by British actress Helen Mirren (Golda [+see also:

film review

trailer

film profile], The Duke [+see also:

film review

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film profile], Anna [+see also:

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film profile]). Alden Ehrenreich (Fair Play) will be at her side in the role of her agent.

The script for the film was written by Australian author Joanna Murray Smith and promises a mixture of suspense and psychological depth, reflecting Highsmith's haunting literary style. Switzerland is a collaboration between the production company Zurich Avenue by Karl Spoerri and Brouhaha Entertainment by Gabrielle Tana.

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