American Cinematographer - October 2002 - 98

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Patel,

an

architect by trade, carefully broke down the film's sequences, which were to

a style reminiscent of the fight sequences that Michael Chapman, ASC shot
Raging Bull.

be shot in
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thought I would pick up a camera and
just start shooting. I wanted everything
to be planned."
By the time he began production
on the film, Patel had spent years think¬
ing about its style. Unlike television
cooking shows that focus on chefs'
personalities, Patel wanted his movie
to focus on the process itself; he there¬
fore resolved not to show his mother's
face

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unique to her," he maintains.

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all

over

India who

thing." He also
footage
plain, blank wall in his
same

decided to shoot all of the

against

a
bedroom. "I wanted it to be very

neutral," he explains. "If I shot in a
kitchen, people would be looking at the

equipment. If she opened a drawer,
they'd want to see what she had in
there. The film

is

not

about her

lifestyle."
initially considered shoot¬
ing the project on 16mm or video, but
he eventually decided on 35mm. "I
thought it might be the only film I ever
make. I had

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no

deadline,

film took five years to
want to

so even

if the

complete, I didn't

see

if the

loan them a camera.
I requested an Arriflex
435," says Matthews. "I presented
myself to Panavision with a resume and
company would
"Rather cheekily,

a

showreel and said, 'Look, I'm not

who's

someone

camera.

needs

going to drop the

But I'm also

someone

who

favor.'" He and Patel

explained
they needed the ability to do the
type of speed-ramping on display in the
Raging Bull fight sequences, and they
also expressed their ambition to try
other techniques that made the Arri 435
ES the best camera for the job.
Impressed by the unusual nature
a

that

of the film, the decision-makers at
Panavision approved the request. But
camera was in great demand, so
Matthews and Patel had to wait until it

the

was

available. Patel recalls that several

times, Panavision called him

on

a

Monday and told him he could have the
the following weekend, only to

camera

inform him later in the week that
one

some¬

else had rented it.

February 2000, the
available all the way

Finally, in
stayed
through to the

camera

weekend.

Despite the last-minute notice,

compromise."

Matthews and Patel

Panavision in London to

approached

Patel's mother, Indumati, had no trouble

,

<

,

„

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American Cinematographer - October 2002

Table of Contents for the Digital Edition of American Cinematographer - October 2002
