Dariusz Wolski is a very lucky man. He has gotten to work on both Robert Zemeckis’ , The Walk and Ridley Scott’s , The Martian. In this wonderful piece in Variety he talks about the differences in both approaches to 3D.
In Robert Zemeckis’ “The Walk” and Ridley Scott’s “The Martian,” cinematographer Dariusz Wolski is in a rare position right now: he has two major, spectacle films out in the marketplace that are strong showcases for his work behind the camera. Not only that, but each is a unique application of 3Dtechnology, post-conversion for “The Walk,” native for “The Martian.”
Wolski — nominated by the American Society of Cinematographers for his work on “Crimson Tide” 20 years ago — spoke to Variety about collaborating with two filmmakers who see the process in different ways, matching period detail versus enjoying artistic license and living up to a long tradition of dazzling photography in space movies.
Let’s start with “The Walk.” This is the first time you’ve worked with Robert Zemeckis. It’s a pretty big project to take that first dive on. What was the collaboration like?
Actually it was a fairly small movie. Bob is trying to make films that don’t have huge budgets that imply huge expectations.