Transcript of Live Chat with Laszlo Kovacs, ASC January 8, 2000 Moderator (08-Jan-00 3:55:19 PM) Hi, and welcome to the live chat with Laszlo Kovacs. We'll be starting in a minute or two. Laszlo Kovacs (08-Jan-00 3:59:05 PM) Hello to all the fellow filmmakers in the world. And a very Happy New Year! Adam F. (08-Jan-00 3:59:31 PM) Thank you! And the same to you too! Moderator (08-Jan-00 4:00:29 PM) We'll begin now with a question that was emailed earlier: Some cinematographers have a signature style that can usually be identified despite the other elements of the production. Your choices of projects spanning so many genres and your work itself seems to indicate a desire to create a different style each time out. Would you agree with that assessment? And if so is based on a conscious decision you made early on to explore many different types of work, or did it just happen that way? Laszlo Kovacs (08-Jan-00 4:01:33 PM) Yes, I definitely agree. I try to approach each story very organically from inside. And this content always will set what the format will be and what the style of cinematography should be. Laszlo Kovacs (08-Jan-00 4:03:00 PM) The other part of the question, do I agree with that assessment: Therefore it is always very important how I select my next project. It really doesn't just happen. You also have to have luck in your choices… Laszlo Kovacs (08-Jan-00 4:04:42 PM) Most of the time the projects choose you. Meaning directors are searching out your services and if I have a choice between several projects at the same time... Laszlo Kovacs (08-Jan-00 4:05:10 PM) I call that an extremely lucky situation. Brian (08-Jan-00 4:05:28 PM) Have you ever wanted to direct a film? If yes, than what kind of movie? Laszlo Kovacs (08-Jan-00 4:06:20 PM) Yes, especially early on in my career. I was approached first by different producers with their own projects. I personally had secret dreams about certain stories, especially anything dramatically to fit in a black and white format... Laszlo Kovacs (08-Jan-00 4:08:21 PM) But we could never agree on the projects, and besides I love very much what I'm doing with passion: cinematography. finbar (08-Jan-00 4:09:11 PM) Do you have any certain directors that you would love to work with? Laszlo Kovacs (08-Jan-00 4:09:46 PM) There's no directors in the world I WOULDN’T want to work with. It's just a question of reality and dream.  I could have a list of the dream directors, and another list would include the "practical" directors. pete (08-Jan-00 4:11:01 PM) Could you describe your what critieria you use for selecting or determining which format (aspect ration) you feel is best for a picture. Possibly give an example? Laszlo Kovacs (08-Jan-00 4:12:18 PM) The reality is that I like to use the anamorphic format most of the time and there is a misconception that a wide screen format in only good for big epic stories... Laszlo Kovacs (08-Jan-00 4:13:37 PM) I feel that probably the most intimate stories are just as effective if not more effective on a wide screen format. Example: My Best Friend's Wedding... aaron/david (08-Jan-00 4:14:25 PM) Have you changed the way that you compose your shots with the introduction of films going to video NOT in their original formats? Laszlo Kovacs (08-Jan-00 4:15:22 PM) I would never change a composition for the sake of the video format. Principally, when you design a feature film, it will be presented in theaters on large screens. Video is a secondary market (I hope), therefore it should conform to the video format. Moderator (08-Jan-00 4:17:38 PM) In your interview with Bob Fisher, you spoke about about the audience feeling like they were watching "real people" in real situations. What is your approach or how do you light for realness? Laszlo Kovacs (08-Jan-00 4:18:47 PM) This would require a lengthy answer, but I'll try and do it here. First of all cinematographers communicate with the audience through the visual image. My approach is always reality whether it is drama, romantic comedies, science fiction, action. It always should look real... Laszlo Kovacs (08-Jan-00 4:20:34 PM) Now to achieve reality on film, we all know light creates image and when you observe reality around you, there is always a source of light. Light being the most important tool of the cinematographer, therefore it is always very important to create reality with "real" sources. For example: sunlight, candlelight, practical lamps... Laszlo Kovacs (08-Jan-00 4:24:24 PM) This real lighting situation will create a real ambience and real world for the characters to live in. If the audience doesn't believe that they're watching reality, they won't believe the story, or the actors. Adam F.  (08-Jan-00 4:25:18 PM) Do you like to use natural -real sun- lights in your films? Laszlo Kovacs (08-Jan-00 4:26:00 PM) In exteriors, of course. But sometimes the real sunlight is not giving you the desired effect. It is more difficult to manipulate it because the big gaffer in the sky won't let you. But you still try to twist it, bend it, change it as much as you can. I find it more effective to use back light, but of course God didn't give us back light all day long! Laszlo Kovacs (08-Jan-00 4:28:22 PM) So you manipulate the production in order to shoot in back light situations, in pre-production time I always survey the location, the travel of the sun, what dramatic situation we have to show and usually with the help of the assistant director, to map out the shooting schedule for the day so that you're always shooting back light... Laszlo Kovacs (08-Jan-00 4:29:31 PM) For example, on a Western I was shooting in the desert, no trees, no mountains no shadows, just burning sunlight unfiltered. So I decided to do the master shot in the morning using back light. As the sun was going traveling, I started doing the closer coverage: over the shoulder close ups... Laszlo Kovacs (08-Jan-00 4:31:47 PM) Usually this takes up the morning hours. As the sun turns into the Western sky I start doing the reverse master again in back light. Then going into the respectful coverage, over the shoulder close up shots and finally ending up in a beautiful sunset. Moderator (08-Jan-00 4:33:30 PM) With some activity currently being discussed as to the role of the cinematographer in the digital post production arena (that is, "fix it in the post") how do you see this affecting your role? Laszlo Kovacs (08-Jan-00 4:34:14 PM) This is a very important question... Laszlo Kovacs (08-Jan-00 4:34:55 PM) When you finish principal photography, and many shots were incomplete or had to include some compositional elements that should not be part of the composition (telephone poles, water towers, ugly sky, etc)... Laszlo Kovacs (08-Jan-00 4:36:31 PM) I can't walk away from the project unfinished and let somebody else fix it. I don't want them to fix it in "post". I want to have control. I don't trust digital operators with my projects because they're not connected to the project as deeply as I am. So definitely they need guidance. They don't understand about matching lighting to create the reality I want. Kimmy Kim (08-Jan-00 4:40:01 PM) The movie FIST, apart from being a great labor movie, is a photographic masterpiece. If I'm not mistaken, theer seemed to be several distinct period looks as the story entered differnet eras and stages. Can you discuss your approach to these looks, and how you organized yourself through the shoot? Laszlo Kovacs (08-Jan-00 4:41:05 PM) The answer could be a day long seminar alone! But the short answer... Laszlo Kovacs (08-Jan-00 4:41:40 PM) First, this film is one of my favorite films for exactly the same reasons that it shows many different periods and times... Laszlo Kovacs (08-Jan-00 4:42:21 PM) The story started when the labor movement was very positive, the hardship of the organizers and the workers dictated a certain dramatic look where I try and indicate the dark, bleak atmosphere. The second half of the film came up to modern times "when absolute power corrupts absolutely." Therefore the look of the film required a dramatic change, which we accomplished through production design, wardrobe design, locale, and different tones of colors and lighting... Laszlo Kovacs (08-Jan-00 4:46:28 PM) It's very important to note that film is a collaborate effort between director, cinematographer, production designer. So the decisions we make are not made by a single person – they're a group effort... Laszlo Kovacs (08-Jan-00 4:48:11 PM) Conceptually you follow a dramatic story and you're selecting locations, wardrobe and color schemes to create a look... Jim D. (08-Jan-00 4:48:59 PM) Would you advise your son or daughter to study cinematography today... or suggest they consider directing? Laszlo Kovacs (08-Jan-00 4:49:42 PM) Absolutely! I have a 12-year-old daughter, Julianna, who's very interested in photography and cinematography. She is beginning to understand the difference between the two. Laszlo Kovacs (08-Jan-00 4:50:37 PM) My pleasure is to teach her in my free time. She has visited me on the sets and locations all through her short years. dankatz (08-Jan-00 4:50:52 PM) is there a type of film or genre that you haven't done that intrigues you? Laszlo Kovacs (08-Jan-00 4:51:31 PM) Everything intrigues me, in this day and age, whether it be prehistoric, middle age, contemporary, futuristic…except violence. camerakid (08-Jan-00 4:53:10 PM) Hi Mr. K. If you had a son or daughter, whose work would you recommend him/her to study besides your own. Anyone that stands out in particular? Laszlo Kovacs (08-Jan-00 4:54:23 PM) My great American contemporaries. I don't want to offend anyone by leaving them out, but here's a few…Hall, Wexler, Zsigmond, Nykvist, Storaro, Roizman. I consider these the great lighting cameramen. 5274 (08-Jan-00 4:56:26 PM) when you shoot a master shot with a specific contrast ratio and then move in for a close up do you feel that you must maintain the same ratio or do you light the close up with a different contrast ratio? Why would you do this? Laszlo Kovacs (08-Jan-00 4:57:53 PM) You have to maintain the EXACT same contrast ratio not only in the next shot, but during the whole sequence in order to achieve a smooth editorial transition. pete (08-Jan-00 4:58:54 PM) What has been your most difficult camera set-up/lighting situation? How did you solve it? Laszlo Kovacs (08-Jan-00 4:59:53 PM) When you've made as movies as I have, it's hard to single out a single set up...A seemingly simple scene could present a very difficult situation to resolve. Laszlo Kovacs (08-Jan-00 5:01:19 PM) I remember a single set up where I had 17 camera positions, over 20 positions for the actors to hit and the lighting situation called for very low-key candle light where a principal actor carried and moved through the many positions and I had to create the realistic effect not only on his face but on the other actors in the scene as well. Laszlo Kovacs (08-Jan-00 5:03:29 PM) I only had one hour to do it! Adam F.  (08-Jan-00 5:04:26 PM) Did you like the Academy of Film and Drama at Budapest, and your teacher György Illés? Laszlo Kovacs (08-Jan-00 5:04:50 PM) Of course! Very much! They are the best. Laszlo Kovacs (08-Jan-00 5:04:58 PM) Adam, are you from Hungary? Adam F. (08-Jan-00 5:05:19 PM) Yes. Sorry for my English sometimes :-) Laszlo Kovacs (08-Jan-00 5:06:23 PM) Are you a cinematographer, director or writer? Or a student of the film school or practicing? Adam F. (08-Jan-00 5:07:06 PM) I'm a student of the HSC course now. Laszlo Kovacs (08-Jan-00 5:07:53 PM) Adam, good luck in your studies! finbar (08-Jan-00 5:07:55 PM) I've seen in some movies, specially Storaro does this a lot, that the cinematographer changes the direction of the light between the master and a close up though maintaining the same "mood", for instance, both shots are side lit but the master is lit from the left side and the close up is lit from the right, How do you feel about this? Laszlo Kovacs (08-Jan-00 5:09:44 PM) It's not wrong, but I wouldn't do it in such a fashion. I always try to match the lighting direction from master to over the should close up and maintain color tones and contrast ratio. Moderator (08-Jan-00 5:10:15 PM) Are there any last questions out there in cyber-land? Adam F. (08-Jan-00 5:10:53 PM) Is it possible to chat with you again Laszlo? Laszlo Kovacs (08-Jan-00 5:12:50 PM) Adam, I'll be in Hungary in the early spring. Look for me and give my love to "Popy." Adam F. (08-Jan-00 5:13:57 PM) O.K. I will! Thank you again for this chat! Laszlo Kovacs (08-Jan-00 5:14:31 PM) Happy New Year to everyone. And thank you for the chat. Moderator (08-Jan-00 5:15:04 PM) We've reached the end of our chat. Our next chat will be with Dean Cundey. We'll let you know when on our web site. The interview with Dean Cundey should be posted next week. Thanks for participating.