Academy Award win­ner Wally Pfis­ter tells us why he won’t work with Christo­pher Nolan as a chore­og­ra­pher again

Hindustan Times (Patna) - Live - - Variety - Su­san Jose su­san. jose@ hin­dus­tan­times. com

You went from be­ing a news cam­er­ap­er­son to a cin­e­matog­ra­pher and then took up di­rec­tion. Was it a planned move?

It was sort of planned. I had done ev­ery­thing I wanted to do as a cin­e­matog­ra­pher and was look­ing to reach new goals. I was de­vel­op­ing a pas­sion for sto­ry­telling and wanted to try some­thing new.

You are known to pre­fer films over go­ing dig­i­tal. Tran­scen­dence (2014) also ques­tioned the use of tech­nol­ogy. Is this why you chose it for your di­rec­to­rial de­but?

Yes, I did get at­tracted to the script be­cause it was a cau­tion­ary tale about tech­nol­ogy. It was im­por­tant to say tech­nol­ogy is only as good as the peo­ple con­trol­ling it.

You worked with stal­warts like Mor­gan Free­man and Johnny Depp in Tran­scen­dence, which makes its In­dian tele­vi­sion pre­miere on July 26 on Sony PIX.

Although Hol­ly­wood di­rec­tor Wally Pfis­ter’s (right) jour­ney as a cin­e­matog­ra­pher was great with films such as Money­ball (2011) and the Bat­man tril­ogy, he yearned for a greater chal­lenge, es­pe­cially af­ter he bagged an Os­car for In­cep­tion (2010). In a tele­phonic in­ter­view, he shares that he turned to di­rec­tion be­cause he was look­ing for new chal­lenges. I was very for­tu­nate to be able to have ac­tors of that cal­i­bre in my first di­rec­to­rial pro­ject. To find a good story and then find the in­volve­ment of such peo­ple was a very lucky po­si­tion for me to be in.

Now that you’ve be­come a di­rec­tor, will you team up with Christo­pher Nolan (di­rec­tor of In­cep­tion) as a cin­e­matog­ra­pher?

Prob­a­bly not. We’ve gone our sep­a­rate ways. He has a fan­tas­tic cin­e­matog­ra­pher work­ing for him now. I’ve stopped shoot­ing films for di­rec­tors and I’m work­ing on my own projects. I’ll not go back ... but you never know!

Do you miss the times when you and Nolan worked to­gether?

I’m al­ways nos­tal­gic about those days. It’s an enor­mous part of my ca­reer. But once some­thing oc­curs in your life and you move on, then you don’t look back. You just keep go­ing; you ap­pre­ci­ate it as part of your history and back­ground.

Nolan has a great cin­e­matog­ra­pher work­ing for him now and I’ve stopped shoot­ing films for di­rec­tors

Wally Pfis­ter, di­rec­tor

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