Chapter 4 Storytelling with Light 165One of the fi rst things I learned was how to establish relationships
with actors, to respect and appreciate what they do. Even today I see
directors treating actors like props. Th at’s the worst thing you can do.
Experienced directors know how to deal with actors, how to deal with
their psychology and they know how to turn them around to perform
for you, the audience. You have to let the actors feel that they’re making
a contribution rather than just being told what to do. Young directors
tend to say, “Well, this is my fi lm, and I’m not getting it, I’m not getting
it!” It really exhausts actors. Not to disagree with some great actors who
have some incredible arguments and discussions before the camera
rolls. Understanding the diff erent types of actors, and learning how
to communicate with actors so that they feel comfortable, is very
important.Q
How do you work with directors and actors to balance lighting and
movement?A
Th e cameraman is not the person who decides the actors’ movements.
We participate. There are some directors who are more open to
suggestions, but surprisingly some directors don’t want to hear any of
it. Some directors are very visually oriented and they do express it,
they say, “I’d like to see this scene lit only by the table lamp, no other
light, very moody.” And if the director has such a strong feeling, then
sure, let’s start with that and see what happens. When I fi rst read the
script and interpret the scene and form a visual idea, I’m always telling
myself, “Th is is only the beginning. Don’t force that initial idea.” I think
it is important when you are a cameraman to discover. Some of the
most interesting stuff that I see on the screen, I’m not convinced that
the cameraman preconceived that imagery. He or she discovered it as
the scene unfolded.
Visual style changes, from fresco to oil to watercolor, but story hasn’t
changed that much. It may go through a few more changes. I think it
is important for young fi lmmakers not to separate the craft of editing,
acting, cinematography and all those things for the time being. Th e
more I work in the business, I see that they are all connected. As much
as I admire “Academy Award winning cinematography,” you can’t take
over the story. When the marriage between everything works out, then
it’s a success.Visit the textbook website to read the entire interview with Hiro
Narita.Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).