Transitions: Research into Sean Price Williams

It is my desire, after i finish this course to pursue camera operating in some form or shape, so for this unit i wanted to take up the role of DOP, and further develop, focus and critique my skills associated with the role. 

So i decided to do some exploration and research into certain cinematographers that i feel have a distinctive style, technical competence and an aesthetic that i really enjoy to watch. One of the cinematographers that i have chosen to explore further & take inspiration from is the super talented, Sean Price Williams. 

 (Sean Price Williams) 

His work on his latest film, Good Time, was an electrifying and exceptional piece, shot on 2-perforated 35mm kodak, giving that eclectic & visually powerful aesthetic.

“I have an abiding love for film and love watching films shot on film. It’s a flexible, versatile recording medium that you can use to create very nostalgic or naturalistic aesthetics. But I also like to electrify the filmed image and colors, especially strong colors, look great on film. Combined with its grain structure, film is made for a stimulating picture that is easier to create on set and more interesting to watch than a digital interpretation. Film sees what is in front of you on set; it’s alive.” 

Sean Price Williams - May 22nd 2017

The film Good Time is shot so beautifully, with its colours popping out, high saturation, and grain to give it that film texture feel, every shot had it's own narrative and that's why i found it so special and engaging to watch.

 (Good Time)

 With the films use of low light being heavily utilised, to create such powerful visual imagery, it puts focus on the characters and the chaos surrounding them. It also puts great emphasis on the psychology perspective of each character, as each character has different lighting staged behind them, evidently conveying a clear indication to the mind of the character at play. 
                                                                                                                                                               

       These two single shots, are actually both of these characters having a frantic conversation about what there plan of action is in regards to the plot. (How to get Robert Pattinson's brother out of hospital) - Pictured left, is Robert Pattinson, pictured right, Buddy Duress, both characters are in totally different psychological states and that is beautifully captured by the lighting within this sequence. Robert is in a state of panic, desperation and rage, whereas Buddy is in a state of hopelessness, shock & confusion as this is at the point in the narrative where he has just been mistakenly taken out of hospital as Robert thought that he was his brother. (That was a major spoiler so to whoever is reading this, i am deeply apologetic). These images put into simple terms how effective lighting can be for a scene and how they can be pivotal to the narrative plot, adding a deeper layer of structure and meaning that couldn't necessarily be captured by other ways so subtly. 

“It’s a pretty crazy movie, and we made it in our normal gonzo style – no marks for the actors, dark and difficult exposures, always chasing the action around. Essentially, we make production as hard as possible. And the immediacy of this punk style of filmmaking translates into an unmistakeable on-screen energy.”

Sean Price Williams - May 22nd 2017

I've always been super keen on shooting with film, be it super 8, or 16mm, but its always been the issue of money & how expensive it is to buy and then get developed. I love the textures that you can achieve and the overall aesthetic, something which you can't really capture on digital, unless you have some super kit, and lots of post-production effects. I think potentially in the summer i'll invest in a 16mm, or go for the Panasonic GH5s, as it's low light performance is that of similar ilk to the Sony a7s ii, but again money is always an issue!

All in all, it's been an interesting read up on this guy, and i'm sure his work in the future will be even more mind-bending and visually compelling just like his work has been up until this point. A lot has been taken away from his work, like his interpretation of how to manipulate low light situations, to the hand-held anarchic character led sequences, he is a very talented individual to say the least. 

- https://www.kodak.com/GB/en/motion/Blog/Blog_Post/?contentId=4295002297

(Link for quotes)