In the current issue of ICG Magazine, the duo shared how they brought to life one of the most feared beasts of all time.
“As a moviegoer, what I miss most is the structured pace and restraint demonstrated by those 70s- and 80s-era Spielberg and Coppola films that made me want to get into moviemaking,” Edwards tells the magazine. “They were blockbusters, but they had heart and a sense of realism. Tension would build, leading to a big moment, and that buildup gave that moment real power."
McGarvey put it all on the table as he discussed everything about the film including working with Edwards, lighting, camera and lens choices, working on location in places like San Francisco, Vancouver, in remote inhospitable locations and aboard the USS Missouri. He gives his own personal insight. “Cameras are just tools allowing us to attenuate the script with a chosen emotion. Regardless of the tools, we have to continue to think about the image and the story, trusting in our taste and judgment and the experiences of our own lives to enliven the subject matter," said McGarvey. "My goal remains always to get it in camera, knowing we can ameliorate problems during the DI.”
“Intrusive grading can get in the way of the edit, and your mind’s not in the right place on set,” McGarvey added. “I treat digital as I do film, applying a gray scale, and there are only certain scenarios where I have a lookup table. I may have a few looks that can act as a plug-in for the DIT, but I will not fine-tune. My look for a given scenario stays put right through to the DI.”
McGarvey knows the value of collaboration and the end vision. “For me, cinematography happens when you push into a scenario, as opposed to just recording something,” he said. “You can shoot wildlife documentaries until the cows come home, but it’s really about the interaction between subject and cinematographer, and the impression you take to mold what is real. I love to mold gently; that’s my credo. The digital world makes looking a lazier process, so I think you have to look with a greater sense of vision, and with precision. But so long as everything is done for the film and not for effect, you’ll be all right.”
Be sure to see filmmaking at its best when Godzilla hits theaters near you.
To read the full article click here: ICG Magazine