{"id":2000,"date":"2014-10-12T20:10:18","date_gmt":"2014-10-13T03:10:18","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=2000"},"modified":"2014-10-14T09:10:54","modified_gmt":"2014-10-14T16:10:54","slug":"roger-donaldson-a-director-for-all-seasons-takes-on-the-november-man-exclusive-11","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/uncategorized\/roger-donaldson-a-director-for-all-seasons-takes-on-the-november-man-exclusive-11\/","title":{"rendered":"ROGER DONALDSON: A director for all seasons takes on ‘The November Man’ – Exclusive 1:1"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

Roger Donaldson has long been adding his own distinctive directorial brush strokes to the cinematic canvas.\u00a0 With \u201cNo Way Out\u201d, he crafted an indelible palette of politics, murder, corruption and fear, giving us just an inkling of what lie ahead for then still relative newcomer, Kevin Costner.\u00a0 \u201cCocktail\u201d made us fall in love all over again with beaches, big city, bartenders, big dreams, Tom Cruise and the Beach Boys while Donaldson sold us on funny man Robin Williams as car salesman Joey O\u2019Brien in \u201cCadillac Man.\u201d\u00a0 A dramatization of the Cuban missile crisis had us riveted to the screen with \u201cThirteen Days\u201d as Donaldson re-teamed with now superstar, Kevin Costner.\u00a0\u00a0 As writer and director, Donaldson created an engrossing portrait of New Zealander Burt Munro and his 1920 Indian motorcycle with \u201cThe World\u2019s Fastest Indian\u201d.\u00a0 In \u201cDante\u2019s Peak\u201d we were treated to not only some fantastic lensing and effects, but an immersive palpable experience with volcanic devastation – and Pierce Brosnan – at \u201cDante\u2019s Peak\u201d.\u00a0\u00a0 And now, Donaldson and Brosnan join forces again with \u201cThe November Man\u201d.\u00a0 Bringing a seasoned meld of action and psychological intrigue that only comes with experience and maturity, Donaldson ups the ante with this riveting edge of your seat thriller that gives new meaning to the term \u201cRussian Roulette\u201d.<\/p>\n

\"Roger<\/a><\/p>\n

As Donaldson and I strolled down his cinematic memory lane for this exclusive interview, he vividly recalled the experience of making \u201cDante\u2019s Peak.\u201d\u00a0 Of course, he was equally amazed at my having seen the film at least 200 times.\u00a0 \u201cThank you for seeing \u2018Dante\u2019s Peak\u2019 200 times!\u00a0 I enjoy watching it, too.\u201d\u00a0 Agreeing there\u2019s just something addictive about the film, Donaldson sums it up nicely.\u00a0 \u201cIt\u2019s called \u2018Grandma sacrifices herself there\u2019 [laughing] . . . We had so much fun making that movie.\u00a0 Both just because we were all together up in the wilds of Idaho in this little town, so we were all thrown together.\u00a0 But just the scale\u2026that scale of moviemaking is gone. . .The thing is, is that everything\u2019s real. It\u2019s all real.\u201d\u00a0 That scale of moviemaking and the practical nature of the filming, stunts and action is something that Donaldson brought to \u201cThe November Man\u201d as well, proudly stating, \u201cMost of it\u2019s real in \u2018November Man\u2019, too.\u201d<\/p>\n

But it\u2019s talking about leading man Pierce Brosnan when Donaldson\u2019s eyes twinkle even a bit brighter.\u00a0 \u201cI loved \u2018The Matador\u2019. He was good in it!\u00a0 And then, he\u2019s done great stuff like \u2018Mrs. Doubtfire\u2019 and \u2018Mamma Mia\u2019.\u201d<\/p>\n

\"november<\/a><\/p>\n

Not to be overlooked, Donaldson is equally effusive when talking about reteaming with Will Patton and Bill Smitrovich and what makes him want to keep working with all of these guys.\u00a0 \u201cI\u2019m a great fan of [the idea]\u00a0 if you find somebody who really can deliver the work and got the chops and you\u2019ve got an opportunity to see an old friend, you\u2019re like, \u2018Come on.\u2019\u00a0\u00a0 You know?\u00a0\u00a0 I mean Bill, he\u2019s such a fun guy.\u00a0 He loves acting.\u00a0 He loves movies. . .It\u2019s just great to see him and he\u2019s good.\u00a0 So, when you can have an excuse to drop around to have a cup of tea with an old friend, that\u2019s what you do.\u201d<\/p>\n

Known best for his work on films like \u201cTaken 2″ and \u201cThe Transporter 3″,\u00a0 cinematographer Romain Lacourbas is now referred to as \u201cthe greatest\u201d by Roger Donaldson.\u00a0 Recalling the search that led him to the perfect man for the job of \u201cThe November Man\u201d,\u00a0 Donaldson animatedly talks about Lacourbas.\u00a0 \u201cI looked at a lot of DP\u2019s [Director of Photography] work and Romain felt like he had the chops and the look that I was looking for – that really classy, European sort of look.\u00a0 But one that I felt would translate to American audiences as well. And he was good. Young, French and energetic.\u201d\u00a0 Creating a beautiful tonal bandwidth with the natural and practical light of the film, even Donaldson admits, \u201cIt\u2019s got a great look.\u201d\u00a0 By creating a visual tone that is lighter than the psychological tones of the story, there is a great juxtaposition of lightness versus heaviness.<\/p>\n

\"november<\/a><\/p>\n

Key to the visual appeal and tone of \u201cThe November Man\u201d is shooting in Belgrade.\u00a0\u00a0 With so many untapped locations that the western audiences haven\u2019t seen in films, Belgrade was a playground for Donaldson and his team.\u00a0 \u201cThat was what appealed to me about [Belgrade].\u00a0 . . I had no idea what the city even looked like until I went there.\u00a0 I\u2019ve never seen it in a movie, so it felt like there was some[thing fresh].\u00a0 You\u2019re always looking to try and find and work with a new place, a new location, new look.\u00a0 So, it made that part of it a lot easier.\u201d<\/p>\n

Logistically, Belgrade was very freeing when it came to shooting.\u00a0 \u201cThere were a lot of things you wouldn\u2019t be able to do anywhere else. . . we wanted to do a car chase through the real traffic. [laughing]\u00a0 And not\u00a0 tell anybody!\u00a0 We\u2019ll just do it.\u00a0 And we\u2019ll get Pierce driving the car.\u00a0 Pierce is a really good driver, but a car covered in cameras. . .\u201d\u00a0 But it worked.<\/p>\n

For capturing all of the action in \u201cThe November Man\u201d, \u201cWe had three main cameras and if we had action sequences, we would have all of them, supplemental ones, you know. Everything from GoPros to D5s and stuff like that.\u201d\u00a0 Shooting digitally but with anamorphic lenses to get that widescreen, filmic texture, Donaldson credits \u201cthis other DP friend of mine, Andrzej Bartkowiak, who did \u2018Dante\u2019s Peak\u201d.\u00a0 A great buddy of mine.\u201d who introduced him to the German lensmakers, Advantage Films.\u00a0 Advantage \u201cbuild anamorphic lenses and sort of recreate the old imperfections. . .put a patina on the image somehow that really helps the digital images look not quite so brittle but more filmic.\u201d\u00a0 Quick to admit his love of digital and that \u201cI\u2019m not out there trying to make it look like it\u2019s film\u201d, in certain films, as here, shooting anamorphically takes the edge off, buffering the imagery like a fine wine, \u201cso you don\u2019t see every pore.\u201d\u00a0 Also significant is that \u201cRomain [Lacourbas] was, as I am, a great fan of getting the lens flare and stuff like that, you know, so\u00a0 lots of light coming into the lens.\u00a0\u00a0 It just makes it like a movie.\u201d<\/p>\n

\"november<\/a><\/p>\n

A new aspect to filmmaking with \u201cThe November Man\u201d is not just the use of low-flying drones in front of the camera (we saw it as major plot point in a tv episode of \u201cCastle\u201d), but behind it.\u00a0 Drones are used openly within the espionage context of the story providing surveillance video feeds to the characters.\u00a0 But Donaldson went a step further.\u00a0 \u201cDrone footage is filmed from the drone. . .Not the one necessarily that was in the shot at the same time as we\u2019re shooting, but [the same perspective].\u201d\u00a0 Interestingly, with all the public concerns over surveillance and drones being hot topics of conversation, there were no issues about using drones and shooting footage with drones.\u00a0 The problem came with Donaldson wanting to get exterior footage of the new U.S. embassy in Belgrade.\u00a0 \u201cIt\u2019s giant. . .I wanted to get some exteriors of this and we couldn\u2019t get permission for this.\u00a0 It\u2019s the only thing we couldn\u2019t make happen. We could\u2019ve stolen it, but I didn\u2019t need that sort of aggravation. [laughing]\u201d<\/p>\n

Beyond pleased at how great the film looks in terms of its scope and in being cinematic, something all could appreciate at the film\u2019s premiere at the TCL Chinese Theatre, sound is always important to Roger Donaldson and he was beyond pleased with the visual and sound capabilities at the Chinese since its renovations.\u00a0 \u201cIt looked great…it sounded great. . . That was as good of a premiere as I\u2019ve ever had!\u201d<\/p>\n

\"Roger<\/a><\/p>\n

So often with action films when there are explosions, car chases, not to mention everyday ambient noise thrown in the mix, quality of sound when it comes to dialogue is sometimes sacrificed and lost to the audience.\u00a0\u00a0 Not so with a Roger Donaldson film.\u00a0 \u201cI run the whole movie just listening to it. . .\u00a0 It\u2019s interesting how you, when you\u2019re watching stuff, you think you understood it.\u00a0 But if you\u2019re just listening to it, you perceive it differently. So, I\u2019m very critical in making sure the dialogue can be understood.\u201d\u00a0 With \u201cThe November Man\u201d we hear everything, right down to the click of Olga Kurylenko\u2019s stiletto heels on tile or a pen being tapped on a table.<\/p>\n

While Pierce Brosnan and his producing partner Beau St. Clair jumped into \u201cThe November Man\u201d back in 2005 as Brosnan was bidding adieu to Bond and St. Clair stumbled onto Bill Granger\u2019s spy thriller, \u201cThere Are No Spies\u201d in the 13 volume November Man series, Donaldson joined the game about two years ago.\u00a0\u00a0 It was impossible not to get his views on what takes a film like this so long to get made.\u00a0 \u201cI think the challenges these days are just the financial side of the business.\u00a0 It\u2019s tough.\u00a0 Getting all the\u00a0 ducks in a row.\u00a0 Getting an independent movie, getting a big release like this,\u00a0 is just about unheard of these days.\u00a0 So, that itself, is no mean feat.\u00a0 And just getting distribution!\u201d<\/p>\n

\"november<\/a><\/p>\n

With that in mind, would Donaldson consider a crowdfunding campaign like IndieGogo or Kickstarter for a project he is currently working on?\u00a0 \u201c I would do anything to get this movie made.\u201d\u00a0 With \u201cpossibly another ten\u201d ideas ruminating for future films, dear to his heart is a project that is very personal.\u00a0\u00a0 \u201cI\u2019ve written a script. It\u2019s a very different sort of movie.\u00a0 It\u2019s an adult family about a father and daughter doing a road trip across America.\u00a0 It\u2019s written by me and my daughter, inspired by me driving her to college.\u00a0\u00a0 She went to Vassar college ten years ago and I drove her there.\u00a0\u00a0 It was a great experience. . .[the script] is a story built around the sort of experience on the road trip and what happens on the way and what happens to the people. So, we wrote a script and we\u2019ve nearly finished it.\u00a0\u00a0 It\u2019ll be hard to get made, but that\u2019s one of them. Then, there\u2019s another ten. [laughing]\u201d<\/p>\n

After all these years and all the accolades and all the great cinematic gifts that Roger Donaldson has given us, including \u201cThe November Man\u201d, what has filmmaking given him?\u00a0 \u201cI love the creativity.\u00a0\u00a0 I love working with other people.\u00a0 You know, you don\u2019t do it on your own. It\u2019s not lonely.\u00a0 It\u2019s not sort of sitting in a dark room or it\u2019s not like writing; it\u2019s hard because you\u2019re doing it on your own.\u00a0 But with filmmaking you\u2019re having to work with a lot of people and I get to be the leader of the pack.\u00a0 You\u2019ve got a lot of very talented people around you that you get a lot out of, as well.\u00a0 So, there\u2019s a sort of camaraderie, I suppose, about filmmaking and it\u2019s creative.\u00a0\u00a0 And you get to tell stories.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

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