Zeferino Iluminación Profesional reprises interviews with cinematographers. This time, we find the DP Sergi Vilanova, he was born in Andorra and he has 38 years old and already has a long history in the audiovisual world: shot dozens of commercials for renowned international directors and brands, documentaries and feature films.In 2010, Sergi shot his first long-lengh film; the documentary “María y yo” (María and me) directed by Félix Fernández de Castro and nominated for the Best Documentary at the 2011 Goya (Spanish Film Academy) Awards.
What were your beginnings in the direction of photography?
I started making video-goer and, above all, power. I spent a few years as well, learning everything possible in each set. After a few years, through a friend from film school, I went job as assistant director in an advertising producer. They were years of hard work in which I learned a lot, because I worked in many producicones. Runnings were large, with a very good director who always worked with great directors of photography and they all learned a lot. Eventually I began to make second units and then photography in small productions. Gradually my coil grew and the phone started ringing.
What has been your most relevant work or which have been more satisfied?
Luckily there have been different, both in film and advertising. In advertising, I rode many ads and obviously has been around; but I am satisfied or keep very good memories of several of them. The documentary “Mary and I” by Felix Fernandez de Castro and the feature film “Escape Plan” of Iñaki Dorronsoro I finished shooting this winter have been, for various reasons, also very important to me.
What light or projector you always carry a movie?
The M18 (and, indeed, the whole series M: M40, M90) so it is practical given its size / power. I also really like how different light can be generated only playing with the car (Flood / Spot). The Kino Flos for its versatility and lightweight they are. Actually, I can not imagine a shoot without carrying KinoFlos.
Do you have a visual reference or cinematographer has marked you?
There are so many … But if I had to name just a 3 say: Gordon Willis for his mastery of the art (and how always put at the service of the story), by value (always at the limit), and that changed everything (or many things). Roger Deakins for, among other things, its apparent simplicity; I admire him very much. Harris Savides also of value (guess I really like the dark) and good taste; it is clear that it was too soon.
What advice would you give to a person who begins in the sector?
Perseverance and hard work. It must be marked a goal and not deviate from it.
How do you think that will evolve the position of director of photography?
Not much; at least not in substance. Change, and much, technology and methods of filming but what is really important in our work is the same for a very long time and I think it will remain so. In my opinion it is more a question of keeping abreast of the technological changes that are happening (or as much as possible, because the pace is hectic and it is impossible to keep up to date all) and not be left behind. Similarly, equally or more important is to surround yourself with good technicians. But no, I do not think much will change in essence. In all the departments so: for example in assembly. Before getting smaller moviolas and scissors and now computers they are used but the important thing remains the same: where and why is not cut or plane. For in what ours is the same: no matter if the camera is a Arri535 or ALEXA Mini; the important thing is where you put it, for what purpose and where the light comes in relation to it.
If you could ask a projector as, what features would have asked him?
It is difficult to say because technology has advanced so far (eg with lighting LEDs) that, frankly, not I think of any device that no longer exists. But it sure appears something new to surprise us in one way or another.