Zambarloukos also reveals why they used the Sony Venice 2 camera on the latest Hercule Poirot sequel instead of shooting on 70mm film.
The Big Picture For the third Hercule Poirot film in the Agatha Christie-inspired trilogy, A Haunting in Venice, director and lead Kenneth Branagh reunited with long-time collaborator and cinematographer Haris Zambarloukos. Having worked his magic behind the camera for the first two films, Murder on the Orient Express and Death on the Nile, Collider’s Steve Weintraub spoke with Zambarloukos about the challenges unique to this Poirot mystery and what changed since their last cinematic sleuth.
HARIS ZAMBARLOUKOS: That’s a good question. I have to say, I think Belfast is one of my favorite films I've made. So I'd say, why don't you start at what I consider maybe my best work and then work your way down? [Laughs] ZAMBARLOUKOS: Yes, that was his shot. He definitely wanted that in the film. [Laughs] He's got a great sense of humor. He's got a great sense of terror and a great sense of humor.
ZAMBARLOUKOS: Well, I think one of the things about Haunting in Venice is it's a far more intimate story. One of the things that are characteristic of a Christie novel and story is that she lived and traveled in a time when travel was rare and expensive, and she basically made her readers travel the world with her. Subsequently, within that travel, what that does is just opens those receptors when you read those kinds of stories.
One of the things that I think makes the intimacy of the portraiture that we have used on previous Poirot films is that we work at a slightly higher depth of field than most films, T4. Not Citizen Kane levels, but just enough that a face and its features are all in focus. So, we wanted to shoot with a large format lens camera system that was in the highest sensitivity to light, and that was the Sony Venice 2.
You guys shot on a lot of practical sets, and then you went to Venice for the exteriors. What was that like shooting on set and then going to exteriors? Do you prefer something like that, or would you rather do the exteriors first and then do the interior, or does that not make a difference?
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