American Cinematographer - November 1999 - 26

oooo
musco

LIC-HIINC

Director Roth (center)
constant wind

helps to set a shot while location in north Devon, where the
played havoc with the production.

studied at the

Polytechnic of Central

the directors

London

1985-'88,

McGarvey has also gained
experience on over 100 music videos,
shooting clips for such artists as Sinead
O'Connor, P.J. Harvey, Suede, Paul
McCartney, Texas, and Natalie
Imbruglia.
After photographing his first
feature-length drama. Look Me in the
Eye, in 1995, McGarvey's career took off.

from

where

he

continued

to work mainly in, still
photography. His interests changed,
however, after Polish cinematographer
Jacek Petrycki took McGarvey under his
wing and encouraged the young man's
developing interest in moving images.
This later led to a meeting with

Irish director/cameraman Thaddeus
O'Sullivan, who hired McGarvey as a
his feature film

December Bride,

newcomers

photographed by Bruno
Keyser. For the next few years,
McGarvey cut his teeth on a variety of
assignments, working as a loader on
such features as Map of the Human
was

photographed by Ian Wilson, BSC, who
became another important figure in
McGarvey's professional life. "Ian has a
very unselfish way of imparting
knowledge and experience," McGarvey
attests. "To this day, I still phone him
whenever I'm in

a

technical fix."

In addition to his feature work,

McGarvey shot numerous low- and no¬
budget short films, many on Super 8. As
his reputation grew, he found himself in
hot demand in this arena, particularly

Happen®

North America

800-354-4448

Los

888-988-6025

Angeles

61 2 94500200

Australia

Units stationed
to meet

throughout the U.S.
your location needs.

www.musco.com
e-mail:

muscolight@musco.com

He has worked with both established

de

on

Heart and Dakota Road. The latter

We Make It

still free."

directors (such as Mike Figgis and
Michael Winterbottom), and several

camera

Hassle-Free

trainee

are

among

first-time filmmakers. McGarvey

continues to value the

opportunity to
work on shorts, noting that "they provide
an chance to work with really good
filmmakers with

knowledge of cinema.
vignettes that allow
you to create a
more defined
photographic world. The imaginations of
Shorts

are

a

like little

Rickman

on

Dec. '97).
for his
modest:

(including

actor

Alan

The Winter Guest; see AC

McGarvey's

own explanation
characteristically
"Because of my youth, the

is

success

directors don't feel
has since shot

so

intimidated." He

series of

challenging
assignments, including Butterfly
Kiss, The Slab Boys, Jump the Gun, A
Map of the World, I Could Bead the Sky
and The Big Tease. When interviewed
for this story, he had just finished
shooting High Fidelity in Chicago for
Stephen Frears.
In tackling any new script,
McGarvey stresses the importance of
finding the photographic heart of the
a

feature

story, and facilitating an approach that's
in tune with the subject matter.

Assessing The War Zone, McGarvey
cites a wide range of influences,
including the epic stillness of the films of
Carl Dreyer, the immediacy of Pier Paolo
Pasolini's work, the graphic qualities of
Kieslowski's A Short Film About Killing,



American Cinematographer - November 1999

Table of Contents for the Digital Edition of American Cinematographer - November 1999

American Cinematographer - November 1999 - 1
American Cinematographer - November 1999 - 2
American Cinematographer - November 1999 - 3
American Cinematographer - November 1999 - 4
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