Getting the look
Summer smash Mammia Mia is bathed in the bright light of the Greek islands, a look created by the film’s Cypriot director of photography, Haris Zambarloukos. We catch up with him in Cyprus taking a break from the beach
Say the word ‘movie’ and your mind will begin unraveling images of beautiful people giving extraordinary performances, breathtaking scenes and unforgettable action. The work and incredible detail that go into making a movie are often overlooked when the viewer is gripped by the plot, but this is exactly what the masterminds behind each film and every scene intend. This is the job of people like Cypriot-born Haris Zambarloukos, a talented cinematographer who has worked with Meryl Streep, Pierce Brosnan and Colin Firth on the much-anticipated summer movie Mamma Mia, now showing in cinemas around the island. His part, as director of photography, is more important than you might realise. “Around 80 per cent of the movie, including a large portion of the budget, depends on the cinematographer,” says Zambarloukos.
When not working with Hollywood A-listers, he visits Cyprus six times a year. “I was born and raised in the capital but since leaving for university, where I found my calling, I’ve always come back to unwind after each project.” Haris’ job takes him all over the world where he joins production teams working on movies. He is a cinematographer, which means he is responsible for the lighting of a film and the artistic and technical decision related to the image, which is what you see on the screen. The cinematographer (or director of photography) is in charge of the film stock, lens, filters and ultimately the exposing of negatives. “A great deal of work goes into a film. My job is to research beforehand, scouting locations, going to rehearsals and working closely with production designers. For Mamma Mia it took me 20 weeks to prepare, almost the same amount of time it took to film the movie (11 weeks in the studio and six weeks in Greece, where the film is located).
“It was my first time working on a musical and I was very excited but it also meant that I had to collaborate with choreographers, which was new to me,” Zambarloukos says. Stressful may be the word that pops to mind but Haris insists it is anything but. “That’s the world of movies. It can take days or weeks to get one scene right.”
Zambarloukos left Cyprus after finishing the army in 1989. He went to St Martin’s School of Art in London with the sole purpose of studying arts. “Since the age of 12, I was frequently found in the dark room. I loved photography and got my first camera at 11.” However, during a course that involved the use of complicated equipment and the chance to get behind another type of camera, Haris found himself hooked. “Most students are scared of the complexity but I loved it and insisted on shooting all my fellow students’ projects for them.” After finishing a Masters degree in Cinematography at the American Film Institute, one of Haris’ teachers stepped in and introduced his eager student to one of his idols, Conrad Hall (American Beauty). “I had always loved his work and when I finally got the opportunity to meet him it was a dream come true.” He went on to intern for Hall on the film A Civil Action in 1997, before going on to become one of Hollywood’s most sought after cinematographers. He earned a nomination for Best Technical Achievement at the 2004 British Independent Film Awards for Enduring Love and has worked with Peter O’Toole on the film Venus. “I don’t know where to begin describing Peter,” he says obviously in awe of the veteran actor. “On set he’s a maestro. He’s inspiring to watch and listen to, an extremely bright professional.”
When asked about the actors he’s worked with, he finds it difficult to elaborate, something you wouldn’t expect. “They’re there to do a job and it’s a very important one. The emotional power that goes into filming a scene needs to be protected, so we, behind the scenes, do everything in our power to get it right for them. They rely on us. Of course, technical difficulties do occur but most of them are true professionals and work well with us.” But what about their behind-the-scenes performances? “Liam Neeson is a method actor because while we were filming The Other Man, a thriller, which is in post-production, he was in a very moody, psychopathic mood. Antonio Banderas, on the other hand, would finish a scene and start dancing flamenco, so there are quite a few interesting moments.”
Despite the traveling, glamorous acquaintances and glitzy premiers, however, Haris remains down to earth and very close to Cyprus. “I love it here and enjoy windsurfing with my friends. We all hop into a van with our boards and head down to the beach.”
Preston Wilder reviews Mamma Mia! On pages 40-42
