“Generally, but particularly on interiors that had bright areas in the image, such as a window, I exposed for the toe of the film curve, so that we would have information in the shadows and darker areas of the image, whilst depicting the colors of nature and highlight and exterior details – which film does inherently so well. That perspective was very important to Mia. Even though digital cameras have wide exposure latitudes, it would have been quite a task to avoid having a white blob in the image.

“In some tricky exposure situations my gaffer, Dirk Van Rampelbergh, employed a sheet of industrial plexiglass ND filtration, that is used to modern building construction, to cover the window frames to help balance the explosions. It’s a very cheap and totally affordable solution.

“I shot as much as possible with the 500T to avoid having logistical issues around switching between film stocks, which can be a pain in the butt, although I did use the 50D for all of the sunny day exteriors as it is so rich and the colors are so vivid.”

Lenoir adds finally that, “It was a magical experience shooting in Fårö, and a good experience to shoot on film once again. I was raised on film, and have shot many features on film, so it is a tool that I know really well. Mia makes the experience very nice with her calm nature and respect for the cast and crew. She knows exactly what she wants in the image – the components of actors, wardrobe, light and landscapes – and it is a thrill to have the fruit of our collaboration, Bergman Island, screened in-competition in Cannes.”

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