ally, the better off you are. It’s a great thing in the case of The Silence that you don’t ever see Hamden except in that footage at the very beginning.
S K: What falls flat so many times about capturing vérité? A lot of times it really has very little dimension. The fanciest cutting and other production values are not going to hide the fact that one has captured less than compelling footage.
R J: It’s an incredibly challenging job to be tuned into what matters and to find the way to film it. It’s exhausting. Often, you’re in for eight, ten, twelve hours in a day. You can get in a mode of shooting too much, obviously. But staying on point and staying focused on what really matters in the story takes a huge amount of concentration, a physical flexibility in space. It’s a thing that a director of photography gives you. They give you what you need. I need twelve