Posted in : Interview , Movies| Tagged : Einstein’s theory of relativity media , The Man In The White Van
The Man in the White Van cameraman Gareth Paul Cox talk to Bleeding Cool about indie vs mainstream & future behind the television camera .
Article Summary
Gareth Paul Coxis always look for a new challenge behind the camera , whether as a camera operator , crew , or lead . Working on a variety of projects from documentaries , film , and TV cover a variety of subjects from football game , reality television receiver , and drama , Cox ’s latest projection is Relativity Media’sThe Man in the White Van , which is based on true events in 1975 Florida where a serial publication of fierce fade go unnoticed , and young Annie ( Madison Wolfe ) is targeted by an ominous bloodless avant-garde that stalks her every move . As the threat escalates , her parents give the axe her fearfulness , and Annie is soon absorb into a terrifying nightmare that shatters her public . Cox spoke to Bleeding Cool , coordinate filming between the cast ’s younger and older cast , how he compare his indie versus his more mainstream workplace and his future .
The Man in the White Van: Cinematographer Gareth Paul Cox on Skeels, Capturing 1975 Florida, and More
Bleeding Cool : Did the cast handiness breaking ball pretend you guys creatively as to what you could film with younger actors equate to their grownup peers ?
Yeah , for the most part , everything was execute as planned . We had a day to a day and a half of weather - related issues : lowering rain . Seasonally , that ’s normal . We were there close to the end of the year when we were shooting , which go to having to switch our schedule around , which evidently impacted actor availability and thing like that . The amount of time we had our principal cast because in filmmaking , a pile of times you only have specific mass for a short amount of time , and they ’re all work into a schedule . Once that docket bug out rearrange , we had to adapt and fool away quickly on some scene . in the end , I do n’t think any of that impacted the storytelling . We ran into more logistic issues there .
What is the big difference for you figure out on indie task compared to something more mainstream on film or TV?Independent film is an interesting place to work , and I ’m doing a lot of independent photographic film right now . The last two flick I did this past summer were both smaller indie films , and the one I ’m presently on is also a smaller indie film . In some ways , I like them a lot because they moderate you to get minor crew sizes and smaller yield companionship involved , and you tend to be able to pivot when up against adversity or any story constituent . you may commonly alter and adapt cursorily because it does n’t have to go through a process of stick approvals and thing like that on the same level you would on a bigger show or standardized project . That allow us to move in an interesting way as a unit , and the collaboration as a issue is speedy but also satisfy and rewarding . That ’s not to say that you ca n’t get that on bigger production . At time , it ’s exciting , and you’re able to get into a situation where you ’re accommodate , flowing , and creatively bringing the story to life-time , maybe in a way that a bigger production might be a little spot wily in real - time .
Do you see yourself leaning more towards aim ? You ’ve already done a few projects , or are you planning to stick more to cinematography ?
I like direct commercials and pocket-sized labor . I wo n’t say I ’m not directing in the time to come , especially not in the narrative public . For now , the place I wish is being a cinematographer , serving a director ’s vision , join forces with them on that level , and help to tell that story . I balance a proficient Book of Job with a creative visual modality and a creative side of that technical job . That ’s what ’s intriguing to me is put all those pieces together . It ’s like a puzzle ; I must enter out how to say that narrative visually and how that story visually bear on the audience . What do you feel when you see this imagery ? That ’s exciting to me as a director , as well as the stuff I ’ve directed in the past tense . I ’ve leaned in heavily into visual element , and if I were to conduct and go down that way , a lot of mine would be very optic , heavy , and maybe more abstractionist in in tale . Again , not to say I wo n’t go that road , but for now , what I like doing is the motion-picture photography of motion pictures .
The Man in the White Van , which also starsBrec Bassinger , Skai Jackson , Ali Larter , andSean Astin , is in dramatics .
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