Posted in : Interview , Movies| Tagged : relativity theory culture medium , The Man In The White Van
The Man in the White Van cinematographer Gareth Paul Cox spoke to Bleeding Cool on capturing 1975 Florida , director Warren Skeels & more .
Article Summary
Gareth Paul Coxhas accomplished a lot in his intimately two 10 of experience behind the camera as a camera operator since his debut in the 2008 documentarySaving Face . Working on a variety of project from documentaries , cinema , and TV covering a variety of subjects from football , realism TV , and dramatic play , Cox has been able to bring events , stories , and character up nigh with unfiltered crude emotion . His latest is Relativity Media’sThe Man in the White Van , which is based on true events in 1975 Florida where a series of violent disappearances go unnoticed , and new Annie ( Madison Wolfe ) is place by an ominous white new wave that stalks her every move . As the menace escalates , her parent dismiss her fears , and Annie is soon plunged into a terrifying nightmare that shatters her existence . Cox spoke to Bleeding Cool about his decennium - long partnership withWarren Skeels , who co - write the script withSharon Y Cobb , and complications during yield .
The Man in the White Van: Cinematographer Gareth Paul Cox on Skeels, Capturing 1975 Florida, and More
Bleeding Cool : What intrigue you about ' The Man in the White Van bringing Warren and Sharon ’s story to life?I like character - driven story and stories with a batch of misdirection . One thing Warren and Sharon were play within their hand was the idea that we ’re not quite certain if somebody is following Annie , our protagonist . I liked her progression through this history . A caboodle of it was the building of her character , and it was secernate through her eye , not through the murderer ’s or stalker ’s eyes in this case .
Since you collaborated with Warren ’s directed projection , what has he been like as a creative mate ? Did your involvement in ' The Man in the White Van ' have anything to do with what you guys did like in ' Siesta Key ? '
We ’ve work out together for a long metre . I ’ve known Warren for over a X , and we have a flying shorthand . It ’s something that allow us to make decisions quickly . In a film like this , where we were limit by prison term , all the main elements that run to a output struggle to get through things , especially on a pie-eyed budget and timeline . He and I were able to pass on quickly . That was the decade of working together , which has led to a lot of quick , creative solutions to problems . Some of the material we had were weather delays and thing like that on this production , and we could swivel speedily . He ’s a collaborator , we ’re both Libras , and that ’s something quite interesting is … I’m not heavily into genius sign , but we have a similar temperament . We can separate and conquer , and that ’s a strong suit of Warren and mine ’s collaboration .
What was the most hard facial expression of the product ?
One of the more hard aspects of this production was it being a period of time film [ express joy ] . There are a lot of element in a period film ; you must set what you could see in your frames . Fortunately , we were primarily shooting in a location that did n’t have much fence it . It was mostly farmland and astray - open quad , but there were times when we would go closer to Shreveport , which is where principal photography was just outside of Shreveport , Louisiana . We would be up against cars that could n’t be move or structures that look more New .
Many things were like that , so we had to get creative . The location managers figured out way to get us to locations that leaned into the period panorama of the movie . The weather delays were slippery , and we had condors getting stuck and heavy machinery that we would apply for lighting at dark sinking in the mud . Those are normal issues in production when you run into atmospheric condition , but it was n’t anything outside of the average .
Were there any scenes that took a little more prison term to be after on the hard-nosed or logistical side of thing ?
We had . We were fortunate enough to get a 22 - foot techno Hart Crane . It was specifically a picture show bird , but we had this photographic camera tool that we could utilize quickly and deploy in dissimilar domain . We used that quite a bit to overcome many of the programing conflicts we were running into . We also had tike actors and young adult actors , and they were on a much different agenda than , say , their adult peer . They lean into have much shorter days , and a lot of sentence , we were up against having to shoot somebody out of a scene while we would continue shooting the scene the residue of the dark . Those are the traditional challenges , but in the sense of being able to move the camera quickly , we did have some of the tool and the resource that allowed us to overcome , say , things that would have otherwise have a batch of metre , like put Dolly track or thing like that . We could use our techno crane , move the camera quickly over decent distances , and pivot man from one particular spot .
The Man in the White Van , which also starsBrec Bassinger , Skai Jackson , Ali Larter , andSean Astin , is in theaters .
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