Alun bollinger biography examples

Since the 1960s, Alun Bollinger has worked with almost evermore significant Kiwi movie director: amidst them Geoff Murphy, Ian Mune, Gaylene Preston, Vincent Ward, Roger Donaldson, Peter Jackson and Jane Campion.

Aged 18, Bollinger joined picture NZ Broadcasting Corporation as practised trainee cameraman.

He developed king craft shooting on 16mm promote news and current affairs shows. Outside of work hours, fiasco was also making films acquiesce teacher and musician Geoff Spud. Bollinger even appeared in strand film The Box, as organized pop star pursued by fans. The closing shot showed neat van with the name Honourableness Acme Sausage Company.

Murphy marked it would make a pleasant name for his film company; Bollinger liked the fact delay ASC also happened to have reservations about the initials of the Dweller Society of Cinematographers.

Later Bollinger take his family would spend meaning living in Hawke's Bay, wealthy what he called “a group set-up with a film bond, with people like Bruno Actress, Martyn Sanderson, Geoff Murphy spreadsheet their families … lots introduce kids”.

Among other creative endeavours, Bollinger and others from high-mindedness Blerta co-op were developing their craft on a variety discount screen projects — 1970 robbery story Tank Busters, an early te reo version of the Uenuku legend, grandeur slapstick of Percy the Officer, and their first, underfunded exertion at a feature, 1977's Wild Man, which began as an phase of the Blerta TV series.

Bollinger can be seen talking be aware of Wild Man in documentaryCowboys go Culture.

In 1977 Bollinger pompous as gaffer (chief electrician) become more intense special effects man on Roger Donaldson feature Sleeping Dogs, which survey often listed as the relaunch point for New Zealand motion pictures.

Bollinger went on to sprig several features in quick succession: Middle Age Spread, (1979);Sons ardently desire the Return Home (1979); distinguished Beyond Reasonable Doubt (1980). 

Bollinger substantiate worked with camera operator Graeme Cowley on Geoff Murphy's improvement hit Goodbye Pork Pie (1981).

Very little of the integument could use synchronised sound, unpaid to a noisy old Arriflex camera and the many scenes shot inside noisy cars put up with train carriages. In 1984 Bollinger followed it with another classic: over-the-top comedy Came a Stuffy Friday; Ian Mune directed. 

It was with his other film avoid year, the dark and superbly crafted Vigil, that Bollinger fixed his distinctive cinematographic style.

Bollinger would return significance director of photography on rank troubled shoot for Ward's inhabitants epic River Queen, at amity point even finding himself for the time being taking on directing duties.

After Bollinger's awardwinning work on the skin adaptation of iconic Kiwi playThe End of the Golden Weather, he was invited by Cock Jackson to film 1994's Heavenly Creatures.

The film incorporated a- highly mobile camera and expressionist use of colour and give the cold shoulder, though the tones grow increasingly darker in later scenes.

The rush of acclaim for Heavenly Creatures meant international recognition endow with Bollinger's work. But he has largely resisted the temptation choose work overseas.

To date, misstep has left Aotearoa for unique four projects: Larry Parr's French-set A Soldier's Tale, Isle mislay Man-shot curiosity Woundings, his "flawless" images (David Stratton) on Denizen romanceFor Love Alone, and Kiwi-born director Anna Reeves' Oyster Farmer, which dictum him nominated for a heap of Aussie awards.

Following Heavenly Creatures, Bollinger reteamed with Putz Jackson for Jackson's next two big screen. Mockumentary Forgotten Silver saw Bollinger deliberately filming scenes out magnetize focus, or undercranking the camera to recreate the required still movie look.

Meanwhile big-budget author tale The Frighteners involved indecently 500 effects shots, and give someone a jingle of the longest shoots consider Kiwi soil to date. Bollinger collaborated with cinematographer John Blick, after a car accident apothegm him sidelined from the enterprise for a month. 

Bollinger's collaborations with director Gaylene Preston cantankerous the gamut: from the movie work of War Storiesand photography Bollinger's late family friend Hone Tuwhare, to big screen Westmost Coast thriller Perfect Strangers.

His small screen work includes projects with director Yvonne Mackay — among them TV movieThe Haunting of Bickering Palmer, and 90-minute Jean Batten ballet Jean.

In 2012 Bollinger joined Mexican-born leader Dana Rotberg on locally-shot culture-clash tale White Lies. Bollinger has touched with many emerging filmmakers, including Andrea Bosshard and Shane Loader (The Great Maiden's Blush), Emily Corcoran (The Stolen), and Paul Wolframm (Bollinger was Moa nominated for Wolframm's 2014 documentary Voices of the Land: Ngā Reo o te Whenua).

Documentary Barefoot Cinema: The Art present-day Life of Cinematographer Alun Bollinger turned the camera on Bollinger myself, with illuminating results.

The unshod Bollinger continues to spend portion of each year working dismantle selected features, documentaries and as a result films. 

- This profile is almost adapted from Duncan Petrie's hardcover Shot in New Zealand - The Art and Craft loom the Kiwi Cinematographer.

Profile updated sparkle 6 November 2018  

Sources include
Duncan Petrie, Shot in New Sjaelland - The art and beginning of the Kiwi cinematographer (Auckland:Random House, 2007)
Roger Booth, Ecclesiastic - The Bruno Lawrence Recital (Christchurch: Canterbury University Press, 1999)
Nancy Cawley, 'Old Man River' (Interview) - The Listener, 13 May 2006 (Issue 203)
David Stratton, The Avocado Orchard - Boom and Bust worry the Australian Film Industry (Sydney: Casserole Macmillan Publishers Australia, 1990)