You will be redirected back to your article in seconds

Stephen Daldry, Alan Rickman Pay Tribute to Cinematographers, Kieslowski at Camerimage

BYDGOSZCZ, Poland – British director Stephen Daldry paid tribute to the cinematographers who he had worked alongside, when he accepted the excellence in directing award at the opening ceremony on Saturday of the 22nd edition of Camerimage, a festival in Poland devoted to the art of cinematography.

“It has been my privilege to work with some extraordinary cinematographers in my career. First of all Brian Tufano, who held my hand and told me what to do and what not to do on ‘Billy Elliot,’” Daldry said.

He went on to list the “wonderful” Seamus McGarvey on “The Hours,” and the “legendary” Chris Menges on “The Reader” and “Extremely Loud & Incredibly Close.”

Daldry picked up Academy Award nominations in the director category for “Billy Elliot,” “The Hours” and “The Reader,” making him the only director to be nominated in this category for his first three films.

He finished by honoring the cinematographer on his most recent film, “Trash,” the “brilliant” Brazilian director of photography Adriano Goldman.

“Adriano had a singular vision which he maintained throughout, often in very difficult circumstances. He had a generosity and patience with our three young inexperienced non-professional actors, who were at the heart of the film,” he said.

“But perhaps most importantly he was pivotal in helping me understand the story that we were trying to tell. We thought we were telling a story about a young person’s action adventure film, but we ended up making a film about friendship, faith and determination. Friendship, faith and determination – what else could you possibly ask for from your cinematographer. Adriano, this award is yours as well as mine,” he said.

After watching the reel depicting his career highlights, British actor-director Alan Rickman, who received the Krzysztof Kieslowski Award during the opening ceremony, joked: “I think it might be called the Over-Acting Award, looking at some of those clips.”

He went on: “This is a very special honor because it carries the name of Krzysztof Kieslowski, who is a real hero of mine. It goes back to when I was an art student watching ‘A Short Film About Killing’ and ‘The Double Life of Veronique’ — that was just at the beginning. And these are times when you know that your mind is being rearranged. He taught me that you can be rigorous and patient. That politics and spirit can exist in the same frame. So this award will always be something to be lived up to.”

Rickman added that his second film as director, “A Little Chaos,” was screening at the fest on Sunday, and that cinematographer Ellen Kuras — best known for “Eternal Sunshine of the Spotless Mind” — had been “glued to my side” during the shoot.

“(The film) might seem a million miles away from Kieslowski, but, believe me, I know the size of the debt,” he said.

Kim Longinotto, whose credits include “Divorce Iranian Style,” “Sisters in Law” and “Rough Aunties,” which was the winner of Sundance’s Grand Jury Prize, was honored with the Camerimage award for outstanding achievement in documentary filmmaking.

“The Imitation Game” and “Birdman or (The Unexpected Virtue of Ignorance)” played as part of the festival’s opening gala.

The ceremony was kicked off by festival director Marek Zydowicz, who said that when he was walking to the main venue, Opera Nova Congress Center, he had noticed the lack of political posters for upcoming elections.

“I then saw a huge crowd in front of the entrance of the Opera Nova, and I started thinking that where politics takes second place, culture rises in terms of relevance, and when politics grows in importance, the importance of human-beings usually diminishes,” he said.

“It is probably no coincidence that it is here at this festival that every year I see so many smiling faces of young people and film professionals alike, who are able to make their dreams come true and to come here with so many diverse dreams that they would like to accomplish.

“If we were able to combine those two worlds, one would be able to have a great agenda for the next team of leaders both in this city and the region, and we would not then have had the kind of problem that I faced only last night.”

He explained that an actress had wanted to attend the festival, but he had to turn her away because of the relatively small size of the Opera Nova in comparison with the number of people who wanted to attend the festival. The festival had sold out weeks ago. She had replied that as festival director Zydowicz was like God: “You can do anything you like,” she said.

He continued: “I said to myself: Well perhaps that is the case to some degree, but the ability to multiply the number of seats at this venue, I don’t have.”

He added that there were more than a thousand students attending the festival, who would benefit if it had a larger venue, but that it depended on the residents and political leaders of the city and region to make a bigger site available.

He said 2,700 films were submitted for consideration, and 348 films were being screened. There were 50 workshops and 200 press conferences planned, as well as seminars and other events.

“What we talk about here is the art of cinema without the pressure of the marketplace, and that is what attracts so many people here from all over the world,” he said.

Popular on Variety

More Artisans

  • First still from the set of

    How the 'Jojo Rabbit' Production Team Created a Child's View of Nazi Germany

    When picturing Nazi Germany during World War II, most people think of black-and-white or sepia-toned images of drab cities. For the cinematographer and production designer of “Jojo Rabbit,” a film set squarely in that time and place, it became clear that the color palette of the era was far more varied than they could have [...]

  • National Theatre Live Midsummer's Night Dream

    National Theatre Live Marks Decade of Stage-to-Screen With Immersive ‘Midsummer’

    National Theatre Live has filmed nearly eight dozen theatrical productions over the last decade, bringing theater to the cinema using top technologies and talents in the videography space. This month, on the eve of its 10th anniversary, its production of “A Midsummer Night’s Dream” is challenging the technical producers and crew with an immersive stage [...]

  • 180423_A24_Day_03B_0897.jpg

    How Bright Bulbs Enabled 'The Lighthouse's' Tough Black-and-White Shoot

    Early in development on “The Lighthouse,” writer-director Robert Eggers asked cinematographer Jarin Blaschke if he thought they could capture the look they were going for digitally. Blaschke answered no: Digital wouldn’t let them achieve the texture they had in mind — “what we photography nerds would call ‘micro-contrast.’ [The look] was never going to be [...]

  • Advanced Imaging Society Honors 10 Women

    AIS Honors 10 Women in Tech

    Celebrating 10 years of achievement in entertainment technology, the Advanced Imaging Society today named 10 female industry innovators who will receive the organization’s 2019 Distinguished Leadership Awards at the its 10th annual Entertainment Technology Awards ceremony on October 28 in Beverly Hills. The individuals were selected by an awards committee for being significant “entertainment industry [...]

  • Will Smith Gemini Man Special Effects

    How the 'Gemini Man' VFX Team Digitally Created a Younger Version of Will Smith

    More human than human — yes, that’s a “Blade Runner” reference — yet it sounds like an unattainable standard when it comes to creating believable, photorealistic, digital human characters. But the visual effects team on Ang Lee’s “Gemini Man” set its sights on something even more difficult: creating a digital version of young Will Smith [...]

  • Jest to Impress Cartoon Network Virtual

    New In-House VR Program Helps Cartoon Network Artists Add a Virtual Dimension

    Teams of animators and artists from across Cartoon Network’s numerous properties are getting the chance to expand into virtual reality storytelling via the company’s pilot program, Journeys VR. The work of the first three teams — including experiences based on action, nature and comedy — was unveiled to global audiences Oct. 1 on Steam and [...]

  • Frozen 2

    How the 'Frozen II' Artists Created Believable Emotion Through Animation

    “The more believable you can make the character [look], the more people believe how [it’s] feeling,” says Tony Smeed, who, with Becky Bresee, shared the challenge of heading animation on Disney’s highly anticipated “Frozen II.” “Emotion comes from inside and manifests itself into actions and facial expressions. Anything beyond that is movement for the sake [...]

More From Our Brands

Access exclusive content