In what ways was it the right format for the story?
The story is from the perspective of Billie’s character Mandy: a modern-day woman who is battling all the time. She's a single mum, she's got a career, she's trying to find love with an obnoxious and misogynistic man, as well as living with her mother. There’s a lot going on in her life – it’s chaotic! I needed the camera to be as immersive as possible and sit amongst it all.
With the full-frame 65mm, you can capture so much information, it was the perfect format to open up Mandy’s vulnerability, her emotions, her relationships, and her environment. I knew I was going to shoot lots of portraiture on this film, so I was excited at the prospect of utilizing that shallow depth of field. The fall-off is beautiful and it reads skin tones and colors very organically.
What led you to the Prime 65 S lenses, and how would you describe the look?
I tested other lenses, but I didn’t want anything too sharp. I really liked the softness and smoothness of the Prime 65 S series. I paired them up with a Mitchell A filter just to soften them off even more. The lenses have a lovely wrap-around in soft light. I found the look to be quite natural.
I thought the 35 mm, the widest lens in the set, was spectacular. When you shot wide open and you had a subject that was relatively close to you, you'd get these graphic, cinematic wides with a little bit of depth, which was just amazing. The 75 mm was a beautiful portraiture lens, too.