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Describe how the team developed the look of Attachments?
Because it's about computers and an internet company, we wanted it to look as if you were on a computer, that the scene was on a computer, and then you clicked on different parts of the scene.
How were the ideas realised?
Well, we had a big meeting with Tony Garnett of World, and Harry Bradbeer who's the director and Ian Adrian, who is the camera operator, and myself, and Harry said to me that we had to be conscious that these people were working through a hot summer. Then we decided on the lenses that we would use to get this effect.
What about the camera style?
[We knew] It wouldn't be frenetic like 'This Life' or 'Cops', it would be very studied in that we'd set the camera up on a tripod and take one shot and then take another shot. But really, going down the line as they say, so we would choose a position for the scene and then do everything mostly from that same position.So if you want a close up zoom in to the end of the line and pick up close ups from the same position, rather than coming round as you usually do in what we call 'reverses'. You know, where there's a shot that way and then the camera comes round and shoots the person who's talking to the first person. Most of it would be done from the same position.
So how would you capture that visually?
It would go from a big, wide shot of, say, the whole office, and then go to a close up of somebody's eye or somebody's mouth, or a finger hitting the keyboard. And also a lot of it was done on long lenses, telephoto type lenses, where you stand way back from the subject. So there's a lot of voyeurism in it as well, where you get a sense of looking through things at people. There's no such thing as a medium shot, as it were, two people talking. It's either one thing or another.
So how does that differ from a more conventional approach to filming dialogue?
We're doing different shots because if, say, there are two people talking in the scene, then you will do, perhaps, a big wide shot of the two of them, and then you'll do singles of each of them, and then you will do little bits - maybe they've picked up the phone or, you know, just a bit of a hand turn, and insert these - these bits are inserted as well. So they're not conventional shots in that way. Not a conventional sequence.
And do you feel this different approach has worked well on Attachments?
It's certainly got it's own style, definitely.
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