23 November 2015

INNER CITY - Officina Immagini Interview with Luca Coassin


We have just finished the color correction of the Inner City movie directed by Ilgar Safat; an artwork that will certainly cause clamor in Azerbaijan, the Director’s home country, since it tells the love story between a young woman and a man much older than her.

A film with melodramatic tone and “elegant mood”, as Luca Coassin, the cinematographer to which we dedicated our first interview to, likes to point out.

“Luca, a question on the style of the film. What was your aim photographically? “

The elegance and refinement, in the first. Inner City is undoubtedly a sober tone film, both for the story that tells in Azerbaijan cultural context, and for the language used in writing. When I read the script and I talk to Ilgar, I realized that this was the way forward for explain the visual style.

I think that my work is not a research of originality (now I believe it has already said anything about photography); the main task of a D.o.P. is, however, to be able to understand the right mood with the Director and pursue it throughout the whole work. For Inner City elegance is what fits better with the visual realism expressed; an elegance that is a hallmark of Made in Italy.

“Where we find the Made in Italy in Inner City?”

When you find yourself deciding the style and photography of a movie (as in a commercial product) you can’t transcend from take behind your background, your educational path. I bear the teaching of two great masters that I was lucky to meet at the beginning of my career: : Giuseppe Rotunno and Vittorio Storaro.

The Italian imprint in Inner City is surely present in interior scenes and in the portraits of the characters. I made several tests on their faces, I made many close-ups in order to bring out the pathos of history.

“How did you feel working with Ilgar?”

Ilgar is a cultivated person and work with him was an experience that elevate me a lot from human and professional point. I remember that when Rotunno spoke about the profession of D.o.P, he often said that it was essential “to train the eyes” and learn to take the Director’s gaze. With Ilgar this process was natural; I put myself at him service in order to grasp the reality described by him: the Director of photography is a means, a vehicle.

“Now you often works with international filmmakers, what is the relationship with these?”

Now I work almost exclusively abroad; Since 2004 I have started my experience in Morocco, I always collaborate with international crew. I like it, there are often exciting relationship.

I must say that the creative process with the Directors is the same in the different countries: talking about shots and screenplays in Italy, in Morocco, in France or in Azerbaijan is the same thing. In over 10 years of experience abroad I have had the demonstration that the cinema is an universal language.

“Finally, how come did you choose to entrust the color correction to Sergio Cremasco?”

I needed certainties. With Sergio I had already worked on the film “Occhi di Cristallo” and I found in perfect accord with him. With the digital switchover, the D.o.P. is the one who has to manage a lot of processes and the color grading is a ring of this productive chain. Therefore, it is necessary to work with someone who can take your visual language and can transfer in the colour the atmospheres you recreated during the shots.

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