What did the cinematographer think of "The Brutalist"? A discussion between cinematographers Kosuke Yamada, Misaki Hikosaka and Shuhei Yamamoto [CINEMORE ACADEMY Vol.37]

The importance of understanding the script

Q: When you normally shoot movies, how do you decide on the shooting concept, including cuts, camera work, color direction, etc., and when and at what point do you propose it to the director or producer?

Yamada: We do talk about cuts that require advance preparation and time to shoot in advance, but for cuts that don't require any particular advance preparation, we usually talk about them after the director gets to the set and has decided on the direction and procedures.

Hikosaka: First, I read the script and visualize it. If the director has a vision, I listen to it, then go on a location scouting to see the actual shooting locations and decide what I want to do. Some directors make strict cuts, while others decide how to shoot by watching the actors' performances. It depends on the work.

Yamamoto: I usually decide on the tone of the image after reading the script. Sometimes I consult with the director, referring to movies with similar themes. And then of course there's the location. Sometimes the direction becomes clear after the location is decided.

Hikosaka: Do any of you have any suggestions regarding tone?

Yamada: That's a good thing. I bring some photo books and ask, "What do you think of this?"

Yamamoto: I often have people watch movies for me.

Yamada: It's important to have a common understanding like that. Recently, I've been asked to provide something like a "mood board*," so I make something that summarizes the tones and color palettes.

*Mood board: A presentation board for sharing visuals, such as colors, atmosphere, and images.

Hikosaka: Even in master classes with overseas photographers, they said they "create a mood board."

“Brutalist” © DOYLESTOWN DESIGNS LIMITED 2024. ALL RIGHTS RESERVED. © Universal Pictures.

Q: There is a long shot of Laszlo and his wife Erzsébet sleeping side by side, and at first the camera, which was diagonally to the side, moves extremely slowly and captures the two of them from a bird's-eye view. Is that kind of camerawork usually decided by the director? Or is it decided by the cameraman?

Yamada: I think it's basically the director. After all, video is also directed, so the director should be in charge of all the shots. However, in Japan, that's not always the case, and we often propose movements in advance. Sometimes we go on location scouting and talk, and sometimes it's decided based on the stage plan and movements of the play. It depends on the case.

Q: In conversation scenes, there are times when the focus is shifted to the person who begins to speak. Is this done based on the flow and atmosphere of the conversation, or is it decided beforehand as a directorial decision to shift the focus?

Yamada: In Japan, being a focus puller is one of the steps to becoming a cameraman, so everyone has experience in sending focus before they become a cameraman. So we already have the sense for sending focus. Because of that, I think we send it by feel. Of course, we also respond to requests from the director.

Hikosaka: I'm always watching the movements and the content of the conversation and thinking about where I should adjust it to suit them.

Yamada: That's the real joy of being a focus puller, and it's important to think like that. Figuring out whether it's better to be out of focus is interesting in itself, and it's also very important in terms of film direction.

Q: To think that far, you need to understand not only the scene you're currently shooting but also the intention of the entire work.

Yamada: That's right. That's why reading the script is so important.

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