In this case, we went further and further towards a camera that’s very still and very quiet, and actually, it’s just about the characters moving in the frame more than anything else. I mean, in this case, on Empire of Light, is it hand-held? Is it black and white? Is it color? You have all the options, and then you gradually whittle it down. I think you gradually get into the discussion about the visual language. I love starting early on and just talking in general about a script. We would talk about ideas, where we could shoot it, and maybe even what scenes were important and what things could change. My wife and I were over in England, and on our days, I’d meet with Sam, and we would just talk through the script. I love that time when you’re talking through a script and swapping ideas, which happened on Empire of Light. But I’ve had a similar kind of collaboration with Denis Villeneuve. So we spent a lot of time just talking about what that shot would be, you know? Because we had to work it out before the sets were constructed or designed.
RD: 1917 was a very specific project because of the nature of the one-shot. RD: Well, it’s different from film to film in a way, you know? What is your collaborative process like with him? SC: And you’ve collaborated with Sam Mendes quite a few times before, recently with 1917. In the late ‘60s, when I was a teenager, there were rockers, fights on the streets, and the whole bit, though. But there are similarities to when I was growing up. In 1981, I was shooting documentaries in Africa quite a bit, so I was very far away from the seaside when this film was set. I love the seaside, especially the English seaside.
RD: Not really, but I did enjoy the idea of being in Margate. Did your background in still photography, specifically in a coastal town, inspire you when you were shooting Empire of Light, given the film’s setting? It’s about 20 minutes from where we live in Devon, actually. RD: Oh yeah yeah (laughs), that was in a place called Teignmouth.
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