Hélène Louvart is certainly one of the best cinematographers of our time. She's very sensitive and incredibly understanding of the story and the characters and arcs. But her biggest forte is she is able to make very complex things very simple. That is how you want movies to be on the surface, very fluid and simple and flowing. Not being too heavy handed with certain teams and metaphors, so they could somehow resurface later once the movie settles and you will come out of the theater and then those juxtapositions start to connect to each other. That's why I really loved working with her. Also, she's a really great partner on set. This was a very complicated movie to shoot. Shooting underwater is one set of difficulty, but shooting on the water, above the water, and next to the water is equally as complicated. Everything is always moving, whether it is the boat, or the sea, or the actors, or a camera, and everything always moves in a different rhythm. So this was a very challenging, both emotionally and tactically, film to make. She was a great partner.
I don't believe in reaching creative maximum ever. I mean, I don't believe I could have squeezed everything out of something so visceral and real. Of course, there's more stories to tell. Of course, now, I choose not to tell my second movie in the same way because I'm interested in exploring other things. But I never know whether or when I am going to come back to the same very familiar teams.
I was very moved by that. Every time I receive one, no letter feels old. Every time I'm pulled in the same way when somebody writes to me about the movie because I guess that's the goal that I hoped it would achieve.
Alamat Kusijanović: I would always advice that unless a really major emotional character bit happens underwater, never shoot underwater because it is very draining, it eats up the entire day, it is expensive and dangerous. But for this movie it was essential. I really tried to minimize these underwater scenes to three blocks, it feels that so much more of the movie is underwater because these scenes were very impactful. They were unspoken because a lot of things were already said up above the water that you could just express the hidden emotions under the water.
First of all the cinematography was superb, the opening shot after the jump from the boat just leaves the viewer in awe. After that when the viewer first gets introduced to the three main characters, the relationship and tension between them becomes clear very quickly. Sometimes it was just enough to see how Ana looks at Pjero and how Julija looks at Ana to feel the jealousy and discomfort. Anyway I think it is really hard to clearly define characters emotionally in a short movie while at the same time building up a climax - but this film managed to that. Of course just as amazing as the opening shot is the finale, overlapping the rescue of Julija, the releasing of the tension and instant reconciliation with her very own "descent" into the Blue...
The blue [of the water] would be a juxtaposition to that [harshness of the landscape]: something very hidden, moist, comfortable, and dark. [We shot at] Kornati, a national park I knew of, which has all these rocks. I knew it because I used to go there over the years. The house I found because I was going to make a documentary about a man who lives there.
7R: How did you think about the colours within Murina? I feel like the blue of the sea is something that immediately comes to mind when I think of the film.
Antoneta Alamat Kusijanovic: I always wanted to make movies that look European, but also that have the structure and rhythm of American films. In Croatia, I got the note that the movie is too commercial. For me, that was a compliment. I wanted [Murina] to be understood by everyone.
That was a great shoot day. That was the first thing I shot. Going down to the cave was, of course, the crescendo of the film that I shot on day one, because of the logistics of the shoot. It was very hard and very easy, in a way, because seeing that footage, I know where the movie needs to go. But also, if that footage was any less good, I wonder what it would do to the rest of the movie.
The team behind Four Weddings and a Funeral follows up that unexpected smash with another Transatlantic romance as mega-movie star Anna Scott (Julia Roberts) falls for mild-mannered English bookseller William Thacker (Hugh Grant).
Miku is an emotionless looking girl with medium-length red hair that has strands of hair hanging over the right side of her face . Her notable accessory is a set of wireless headphones that have a triangle-shaped logo on the ear cups (Audio-Technica). Like her sisters, she has dark blue eyes, an average height, a well-endowed figure and large breasts.
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