Skip to main content

Interview with Green Inferno and Knock Knock director of photography Antonio Quercia

How do you define the role of cinematographer?

Well beyond the photographic technique, style of lighting, the intention of the camera, optical frames and a cinema is certainly a mediator, a tightrope between light and shadow, between production and direction, between day and night, etc,
the images are abstract gives a script, the reality is travez monitors on set, only then at that point becomes concrete all conversations that had before filming began, and achieve interpret these sensations we gives the script, with the help of the director, is undoubtedly the great mission of the cinema,

What makes a good film?

Film, film maker, is undoubtedly the union of thousands of items where parts can not work alone, it is therefore very necessary coordination and synchronization of different departments to get outstanding results, if we put in September 1 to the best exponents of each area and you do not communicate well, we will not get good results, then the film becomes a multifunctional space where communication and intuition are essential virtues to reach a successful conclusion to the project

How do you choose what camera to use for each film?

Each project requires different types of cameras, I'm repeating myself lately with Canon for its size and now finally in resolution 4k, having less weight and size decreased movement time, occupy less space on the set and I'm freer to do second units or extra shots outside the plan makes me more comfortable and spontaneous and are ideal for extreme places or small

You've Worked With Eli Roth and Nicolas Lopez a few times. How is your working relationship With Both of them?

With Nicolas have worked for years and have a family relationship in which entered Eli, like the brother you had not known, the language barrier has not been a problem to arrive and find what we want, our work is very concrete and intuitive even developing such a particular language or translators and technicians understand us when we speak of plans to make, a mixture of Spanish and English with a flamboyant Italian accent.
Nicholas and Eli have the gift of the director who know, fight and do not stay quiet until they get what they want, it's definitely a gift that every filmmaker appreciates and expects its director.

For The Green Inferno you shot where no other film crew had Been before. What were the challenges of working in that environment? How did the locals react to the film crew?

Well, jungle, amazon speaks for itself, are extreme places where nature rules with a mighty splendor, only reaching the location took us two hours between jeeps, boats and walk, extreme temperatures were challenging for us and cameras, all these elements are reflected in the film, the love the place so extreme and gorgeous looks in the film, the taste of achieving complete each scene in these conditions filled us with pride, every day was an extreme battle in which the cohesion of a team that already spent years working allowed us to achieve a result which we are proud, as locals we were warmly welcomed, where the smile and work were part of life on set.

Knock Knock shows a new direction for director Eli Roth. How did you decide what the look of the film Should be?

Knock Knock there is a change in the look of the director, a new way of seeing, an invitation to understand the story from another perspective, as we see blood, we do not feel helpless and vulnerable, we are at home, if in our house, why maybe it was more difficult to choose a look, where the typical elements of suspense and action are not part of the initial start-scene, then start from the safety of home and from there wreak havoc, and as I speak of home speak certainly architecture, home delivery itself photographic elements, their blinds and corridors repeatedly give us a status of what happens, large windows box asking rain, finally architecture is an ally fundamental in this film, and his look is changing along with the development of history,

In terms of your career, what would you like to do that you 'Have not?

I think more than I could say that race is an escape, leakage and this leakage I have walked in all its forms, from theater, television, series, movies, documentaries, advertising, comedy, horror, action
As I am fairly intuitive and spontaneous to light, projects to invite me to work are varied and very different from each other, it is a wonder, face very different work keeps you alert forces you to constantly renew you never know what their next film, and never know how it will perform, is that mystery and variety that keeps you awake and eager for the next project is another challenge that costs and realize that once we finish look with pride and satisfaction that we have accomplished as a team.