“This is a story about how people behave when no one is keeping score and there are no apparent consequences.” – Westworld writer/director/producer Jonathan Nolan, from Wired
Paul Cameron on shooting close-ups with Cooke S4’s…
“Cooke S4s are the most elegant lenses to photograph faces with. They render the subtleties of shape and color, in particular, really wonderfully. There is a slight softness and beauty to Cooke lenses that is unsurpassed.” – from American Cinematographer Magazine
Paul Cameron on how film crews are like Westworld’s robot hosts…
“Part of the pilot is that it does have this repetitive nature. The day starts and the train arrives. The characters walk down the same street and say the same thing to the same person every morning. The same kid runs across the street. The piano starts to play. There’s a cadence to the park — the monotony of it mixed with the unpredictability of it all — and then by the end of the day half the hosts have been shot up and need to get washed down, the lead pulled out, and get re-programmed to be put back into work the next day. It’s kind of like a film crew. (laughs)” – from Filmmaker Magazine
Paul Cameron on his preferred diffusion…
“I have three types that I carry with me: Hampshire Frost, Opal and bed sheet. That’s it. There’s no need for anything else. I don’t use grid, I don’t use 216, or whatever, just, really, Opal and bed sheet. I got the bed sheet idea from working with Tony Scott — he loved it. You can travel anywhere in the world and if you need diffusion, just pull the sheet off your hotel bed and bring it to work. I love it. I like bed sheet at the edge of the frame — it has a very soft quality, lighter than muslin, but inexpensive and really easy.” – from American Cinematographer Magazine