Thursday, November 05, 2009

Meet Kenny Wilson

Meet the guy behind the camera, our Director of Photography, Kenny Wilson.  We often give so much credit to those in front of the camera we forget to honor the artists with vision that play a significant role in creating the look of the film. NONAMES is a beauty and much of that is due to Kenny's attention to detail and passion for storytelling.

When we first met Kenny, we knew he was the right visual interpreter for NONAMES, as he referenced the same looks and storytelling of our favorite films of the seventies.  Filmmakers Terrance Malick, Peter Bogdanovich, George Roy Hill and Hal Ashby were all influential but moreover than their specific films, we talked about their unique styles.  We had many discussions about 'patient storytelling'...traits all of those directors shared.  We missed the era when films were able to take a deep breath and then slowly exhale instead of running and gasping for air just to get the point across.   We made a decision early on that we would take our time, shoot it on 35mm film with anamorphic lens and exploit the beauty that exists in celluloid.  It was our unwillingness to compromise using film over digital and Kenny's dedication, waiting a very long time while we raised the funds to shoot in this medium that we can now celebrate this film and collaboration that provided us with an end product we are all very proud of.

On set, even with the many obstacles of shooting an independent film with little time and money, Kenny rallied for shots he strongly believed in and adjusted accordingly when weather or set difficulties challenged us.  It is reassuring to have someone that knows exactly the look and mood you wish to create, behind the camera.  We did have our limitations on perhaps an overly ambitious script for a first film and many that are inherent to indie films overall but we accomplished a great deal for our budget and schedule, thanks to a very talented cast and crew. 

We were very lucky to find Kenny and wish him the very best in his career as a Director of Photography/Storyteller/Visionary.

And now, in Kenny's own words:

“A photograph is not an objective interpretation of visible reality, but rather a subjective interpretation of what we feel.  I approach every film with a few key broad strokes, but really try to uncover the thousands of 'telling details' that organically construct a scene, like an architect developing a dream. For me, filmmaking is a perfect, harmonious blend between science and art...the technical and the aesthetical."

Kenny's work spans multiple genres. His passion for indie dramas has furthered his relationship with David Gordon Green, lending second-unit photography to ALL THE REAL GIRLS and UNDERTOW, affording him the opportunity to work with all-time fave TERRENCE MALICK. Well versed in comedy and action flicks, between THE GUATEMALAN HANDSHAKE (second unit) and the vfx-intensive thriller EYEBORGS, Wilson has come to make every shot count. Lingering, explosive, poetic, realistic. And sometimes strange.

Least we forget the small screen. His credits include the reality series ROUSCH RACING: DRIVER X for DISCOVERY, THE DRIVE for CMT, WINGS OF MAN for THE HISTORY CHANNEL, the PBS documentary BATTLE OF SAILOR’S CREEK, and a really great chance to meet Tammy Faye Baker on her last series, DEATH DEFYING (WE network). Oh yes, and lots of NASCAR, MTV and BET.

AWARDED: Kodak Outstanding Cinematography, Slamdunk Jury Award (Fudgie and Jane), Indy Spirit Nomination (George Washington), Reelwoods Best Feature Film (Chicks 101), New England Film Fest-Best Feature (You Are Alone), Wired Magazine's Best Something (IBM: Launch), Sundance Special Jury Award (All the Real Girls), Discovery Award-Toronto Film Fest, NYFCC Critics Award (George Washington), Slamdance Jury Award (The Guatemalan Handshake), Gold Space Needle-Seattle Int'l Film Fest (DoubleTime), Excellence in Filmmaking--USA National Board of Review (Undertow).

Next, we'll continue introducing our creative crew members with a spotlight on their work on NONAMES and beyond.

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