Cinematographer Christopher Blauvelt Talks Taking Over ‘The Bling Ring’ for Harris Savides

In the headline of their October 12, 2012 obituary for Harris Savides, the New York Times went beyond a technical description of the late cinematographer. They opted for “Visual Poet,” a description that spans Savides’ career of fashion photography, music videos, and feature films. Over a 30-year career, Savides shot for David Fincher, Woody Allen, Noah Baumbach, Gus Van Sant, James Grey, Ridley Scott, and Mark Romanek, who recruited the photographer for Michael Jackson’s “Scream” and Madonna’s “Rain” videos.

Savides’ final work can currently be seen in “The Bling Ring,” directed by Sofia Coppola (read our review here), with whom he previously collaborated on “Somewhere.” During the making of the film, the cinematographer became sick, forcing him to take a leave of absence from the shoot. Knowing the visual identity had been concretely established, Savides put “Bling Ring” in the hands of his longtime camera operator Christopher Blauvelt (who has shot is own handful of films including “Meek’s Cutoff,” “Nobody Walks,” and the upcoming cinematic diptych “Disappearance of Eleanor Rigby”). Thanks

Below, I spoke to Blauvelt about the inspirations for “The Bling Ring,” working side-by-side with Savides for many years, and carrying his collaborator’s torch in both Coppola’s film and in his future work. You will also find a conversation with Coppola on what Savides brought to the film and the shots he designed.

Matt Patches: What were the visual cues you were presented with by Sofia? Were there graphic design, cinematic, or materialistic inspirations that Harris had considered?

Christopher Blauvelt: Sofia had a lot of visual references that we pulled from. Her and Harris had already thought about this project well before I came on board but I was able to bring in some of my own as well. We referenced a lot of contemporary photo books of kids of this age with their parties, outfits and behavior. We watched movies like “Foxes” (1980) for the camaraderie of the bunch as well as “Over the Edge” (1979) for the kids running around without care of consequence. It was also good to keep some of the older films that we appreciated in mind when we knew we were making a very contemporary story. And when it comes to understanding the fashion of today, there’s no one better than Sofia.

Having worked with Harris many times, how easy was it for you to take on DP duties for “Bling Ring” after he passed away? What were the challenges of matching his cinematography?

CB: Harris was still alive while we were making this film, but he was having to deal with some medical issues so he asked me to come on board to protect Sofia and the film alike. Harris was aware of this situation early on even before prep. He and Sofia are great friends and had been talking about this film for quite a while. So when I came into the picture there was already a good idea of the aesthetic. Harris and our D.I.T. [Digital Imaging Technician] Jeff Flohr had been working on digital looks for the past few years and it was time to see if these would work on a film. We went right into testing these ideas to see what would be the look of the “Bling Ring.” And through a lot of trial and error we found it.

Why do you think the two of you were on the same page creatively? Did you see shooting a movie — stylistically, philosophically — in the same way?

CB: I was always on the same page with Harris because the philosophy has always been that every project deserves its own look. So with ultimate respect for the script, the genre, and the ideas that Sofia had for it, we would research and test as much as possible to get the look of our film. We would always find a way to tailor make the look of every film so I have been a part of this process with Harris on many films.

How did “Bling Ring” vary from your own and Harris’ previous work? Did he have a consistent mantra for solving cinematographical problems?

CB: We wanted to stay very limber and keep the camera handheld as much as possible to make it feel more in the moments and minimize the need for cutting. This was to keep things feeling more authentic and living in reality. We were always choreographing the scenes to make them happen in one take if we could, and we wanted to keep the lighting in the same vein.

Where do you see Harris’ influence in your own work and on all of cinematography?

CB: Harris has influenced cinematography in a way that very few have, he was one of the best people ever to do what he did and a beautiful human being. I personally have him in my heart for everything I do and hear his voice when I’m not challenging myself.

He always said you got to be a little bit scared or you’re just phoning it in. That was Harris and that’s why he always got the most unique looks in films. I will miss him dearly.

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Tags: Christopher Blauvelt, Cinematographer, Harris Savides, Interview, Matt Patches, Sofia coppola, The Bling Ring

Q&A: Naomie Harris on ‘Skyfall’

The path to Bond girl stardom has been one with a lot of twists and turns for Naomie Harris. We first saw the London native as a zombie-killing badass in “28 Days Later,” then as a PA with the hots for Steve Coogan in “Tristram Shandy: A Cock and Bull Story.” Most recently, Harris appeared as the island magician Tia Dalma in the “Pirates of the Caribbean” sequels.

However, playing 007’s MI6 colleague Eve in “Skyfall” will bring Harris a level of stardom she has never before experienced. Here we chat with her about being dogged by paparazzi, encountering Daniel Craig for the first time and the intensity of her role as Winnie Mandela.

So you have got to give Danny Boyle a lot of thanks. Along with casting you in “28 Days Later,” he also chose you for his “Frankenstein” stage play, which lead to you getting the Eve role, right?
Yeah. He’s been amazing. I actually didn’t know anything about a casting for “Skyfall.” I was just doing my thing, and I found out that Sam came to one of the shows for “Frankenstein.” I never really put it together because I thought I wasn’t your typical type of Bond girl.

Were you shocked when you learned they wanted you to audition?
No. I knew they were auditioning thousands of girls around the world, and I knew it was a long process so I thought I was just thrown in there to make up numbers. I didn’t think it was serious. Then in the third audition, when Sam told me, “It’s down to you and two others,” I realized, oh, this is kind of serious.

Was there anxiety or excitement at that point?
Excitement but still disbelief. I still couldn’t believe it. Even when I was on set, I just thought they are going to get ride of me.

Also Check out: Next Factor Q&A: ‘Skyfall’ Star Bérénice Marlohe

When did you first meet Daniel Craig?
I met him very briefly in a hallway. He was having a costume fitting and he was walking down the hallway, and I was asked, “Do you want me to introduce you to him?” And I thought, no, I don’t want to disturb him. So I kept on walking and he ran out and was like, “Where are you going?” and gave me this massive huge, and that was the first time I met him.

It must have been refreshing that he was so down to earth.
Yeah. He was like that throughout. He was really generous to [fellow Bond girl] Bérénice [Marlohe] and I because coming into a franchise of this size is of course intimidating. You can’t help it. So to have someone be like, I’m going to take care of you and hold your hand, is really kind.

Were you able to comment on how you wanted to play your character?
Well, that was the really interesting thing. It’s such a big machine and a big film that I thought you’d have less of a voice, but I don’t think I’ve ever had such a big voice in anything I’ve done because Sam is very collaborative. So his first thing was saying, “Never mind rehearsals, let’s get with the writer, and if there’s anything you want to change at all, let’s just do it.” And he was like that on set too. That’s amazing. It’s very rare and a real privilege when you work with someone like that. It was very freeing.

Were there any major changes done to your character?
No. I loved my character. I think originally it was slightly smaller, and there was an addition of, I think, two scenes. So her role got bigger while we were going on, and that was great. But my mom is a writer, so for me a script is a bible, so rather than trying to tinker with them, I’m always very much like, how can I find a way to make this work and be truthful to what’s in the script?

Has life changed for you since become a Bond girl?
I definitely can feel a change. Yesterday I tried to go out, and there were loads of people out there asking for my autograph, and I was followed down the street by paparazzi. That was really weird because I’ve never ever had that happen to me before. So it’s definitely a big change.

Do you feel that suddenly your life has to change?
Hopefully not. It’s nice now because we’re traveling the world doing press so I have hair and make-up all the time, so I don’t get papped looking like a complete mess. [Laughs] But hopefully when we finish the tour things [will] calm down a bit.

You also play Winnie Mandela in “Mandela: Long Walk To Freedom.” Did you shoot that before or after “Skyfall”?
I basically finished “Skyfall” and had two days off and then flew to South Africa and started “Mandela: Long Walk To Freedom.” It’s me and Idris Elba headlining it, and I think it’s the most challenging role I’ve ever played. It sent me nearly insane because I didn’t realize what a dark place Winnie inhabited. I didn’t know about her being tortured, her kids being taken away, being in solitary confinement for 180 days, I didn’t know about all of that. It was really intense. But it’s the performance I’m most proud of so far in my life.

Categories: Interviews

Tags: 28 Days Later, Bond, daniel craig, danny boyle, Mandela: Long Walk To Freedom, Naomie Harris, pirates of the caribbean, sam mendes, Skyfall, Skyfall, Daniel Craig, Naomie Harris, Sam Mendes, Danny Boyle, Idris Elba, Pirates of the Caribbean [Film Series], 28 Days Later