Baz Luhrmann Honored With Director Award at Camerimage Festival – The Hollywood Reporter

Baz Luhrmann and cinematographer Mandy Walker give a standing ovation after a screening. Elvis A conversation about the making of the film Monday night at the Energa Cameraimage International Cinematography Film Festival in Toruń, Poland.

Earlier, Luhrmann was awarded the festival’s special award for best director and invited Walker (whose previous collaborations include Australia) to join him on stage, noting that “we are joined at the hip in the making of stories”. Accepting the award, the director took a moment to comment on a short film screened during the festival, which features a filmmaker who joined Ukraine’s military after the Russian invasion, and says Cameraimage stands with Ukraine. Helmer said he and Walker “watched a three-minute film about our brothers who make movies in Ukraine. And then we saw a fight to the death with a gun. We both cried. … It’s impossible to be here and not feel the emotion. I think the whole world needs to pay attention to what’s happening.

obey Elvis After the screening, Luhrmann and Walker returned to the stage for a conversation about the film. The director received rapturous applause as he spoke of his commitment to the theatrical experience. “I’m not going to make a movie if I go straight to streaming,” he said. “We are making dramatic films for the theater.”

Walker explained his exact planning process. “Working with Buzz, nothing is uncertain in terms of how we shoot each scene. “It’s always about storytelling,” he said, adding that it involves all disciplines, including production design, hairstyling and make-up. “There, we conceptualize each sequence. We talk about it in terms of emotion and how we want the audience to experience the moment. Baz spends a lot of time including all of us. Some of our tests are on film … and once we talk about the visual language, we talk about it. Not thinking, we feel it because we already have that language together.

Luhrmann’s past collaborations with the photographer include: Australia – also talked about the delicate work involved in creating famous shows like Elvis’ ’68 Comeback Special. “For those who have seen those shows, we’ve reproduced the exact camera angles and lighting, and we’ve also added grain.” He noted that some real archival shots were also in the final film.

“Baz has created a film that my parents love and a new audience too [for Elvis’ story],” Walker continued. “It’s that combination—trying to replicate the archival part of it but make it appealing to all audiences. To make that visual language work—it’s introducing Elvis to a new audience in a modern way.”

Luhrmann explained, noting, “We had to say what was in the past, but also how it felt to young people. So we did everything Elvis did. Bringing older audiences, younger audiences, all audiences into the theater.” Elvis Currently the highest-grossing non-franchise domestic film of the year with $151 million (and $286 worldwide), “I think we’ve done something that even Elvis would try to do.”

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