This was the first job that I shot with Terence Donovan. It was
a very difficult experience, I'd got the job because of the way
that I lit a documentary about him and it was my first major 35mm
He'd been one of the photographers whose work I'd really liked when
I was at art college in the sixties and here I was lighting for
him!. I had the additional problem of a crew that had worked with
him for years and had expected his operator to be promoted to DP,
instead he brought in a docco cameraman :-(.
He told me he wanted it to look as if it was lit with a "fish
fryer" and when I immediately understood my stills background
became clear to the rest of the crew.
I spent the whole shoot with the operator and AC double-guessing
my lighting & exposure, "my contrast was far to high you'd
never see his eyes!".
Well we did see his eyes and the operator left, he started lighting
for Terence 6 years later when I left, the AC settled down over
the next few shoots but only after a demonstration of how lighting
can make his life hell :-).