|
 With Tomorrow When The War Began in the can and DAYBREAKERS due to be released in Australia on 21st January, we thought it was time to discover what makes Ben Nott tick.
1.Going right back to the beginning of your life looking down a viewfinder, what camera did you use on your first picture? Does the equipment of today make it pale into insignificance?
My career in the camera department began working on staff for a commercial production house shooting with that fabulous work horse the 35mm Arri III and the 16mm SR2 … both incredibly reliable and neither of which I would refuse to shoot with today. I would often use the Photosonics high speed 16mm camera to shoot table top work but I would never again choose to shoot with this beast given development of the high speed HD systems that offer 1000fps with the ability to review in an instant. My drama career began in 1999 when I was offered US TV producer New Line’s series of Arthur Conan Doyle’s ‘The Lost World’ ... produced locally on the Gold Coast by Coote Hayes Productions. I photographed three seasons with the aid of the Arri SR3. We gave these cameras an absolute thrashing for a total of 378 days and they never missed a beat. Incredible!
2. Who were your mentors?
The biggest single influence on my career has without doubt come via filmmaker Dick Marks, himself a wonderful cinematographer and visionary.
 I worked on staff for Dick at his production company for seven years where I progressed from Focus Puller to DP. Dick is very old school. While his expectations of those around him are very high he is very collaborative, supportive and generous.
Lessons from the book of Dick I will forever practice include, ‘close enough and ear enough do not share the same post code’ and ‘the art of winning the war in preproduction’.
3. And idols? Was there a style to which you aspired?
Mmm … idols. I’m not sure it is healthy to idolise anyone/thing but inspiration is certainly something I draw from many sources.
ROBERT RICHARDSON ASC … everything he photographs.
CARAVAGGIO and his mate REMBRANDT ... you want to learn about contrast then you talk to them.
RON JOHANSON ACS (National President of the ACS) ... an example of absolute dedication and commitment to something you love and believe in.
MUM … I was born 10 pound six ... do I need to go on!
 4. What was your ‘big break’ in the industry and how has being a Brisbane boy opened doors (or otherwise) for you over the years?
My big break came by way of a broom. I was employed as a freelance runner on an Ikea commercial and happened to sweep up in between takes just as the director/operator was complaining to the grip that the dolly was running rough on the floor.
That director was Dick Marks. He then employed me as a clapper loader on a 4 month doco shoot that circumnavigated the country.
Being Brisbane based has both helped and hindered my career. Helped because I was able to move up through the ranks faster with less competition and hindered because there are less opportunities.
5. Is it always about ‘story’ as Sam Fuller claimed? Do your pictures tell a thousand words (or more)? Does a DP have time for that now or is it all about a tight schedule.
As far as narrative driven filmmaking is concerned Sam Fuller will always be right. I share the opinion that the photography must support script. In saying this I am in no way diminishing the story telling power of the visuals and the sound mix. Producorial belt
tightening dictates that we have to be more clever in our work practices to achieve good results. I don’t believe in being average just because time and money are in short supply. Good planning = Good results.
|
