Arthur Malimon — screenwriter at The Face Production, film buff, and photographer. We talked about the plot of Arthur’s upcoming film, asked him about different cameras, and learned what inspires the photographer.
All your shots are taken either on DSLRs or medium format cameras. Where are the daily routine photos on a point-and-shoot?
The last time I shot with a point-and-shoot Skina was when I was 5 years old. But now I feel like I need something light to capture the moment. I go to the mountains and travel by bike, and big cameras are inconvenient. By the time you get the camera out and focus it — the frame has already flown.
It would be cool to find a revolver handle somewhere and attach a point-and-shoot camera instead of the barrel. Click — and the frame immediately rewinds. I’ll be an analog cowboy.
Cool idea, you should launch such a startup on Kickstarter. How do you work with models during a shoot? Any personal tips?
I always shoot with music because it gives the full picture. If the person in front of me isn’t an actor, it can be hard for them to convey an emotion. So I play music that sets the tone and helps understand what I want in the frame. I have a shoot coming up, and I already know I’ll be shooting to Stevie Ray.
Any photoshoot — is an exchange of energy. How do you feel after a photoshoot? Does it energize you or drain you?
There are times when I wake up completely unmotivated for a shoot. Then I apologize and suggest rescheduling. I used to come even in that state, but now I understand that without the desire to create, nothing will work.
Sometimes, the shoot goes great, the shots turn out good, but I feel like I’ve drained the person. Then I leave in a heavy mood, despite the great photos.
But mostly everything works out, and I feel a symbiosis of our minds. After such photoshoots, I run out enlightened and happy. The only feelings — is euphoria and the desire to create.
Is shooting your main job?
Good money can be earned if you have a name and a great portfolio. I'm still in the process. Right now, I work as a screenwriter at The Face Production. We specialize in video projects, advertising, and music videos. And our ultimate goal — to make a film. It turns out photography goes hand in hand with my main job. Many photographers become cinematographers, but probably not me. I like being a moment catcher.
Oh, tell me more about the film. Are you already working on it?
I've been writing the script on a typewriter for 5 months now. Here's another expression of my retro soul. I like seeing everything in reality. Usually, we write scripts together with the director, but this one — my personal work.
Will you let me read it, honestly?
No problem, I'll bring it. The film will be more capsule-like and surreal. It's based on an old story, more like a myth. I'm curious if people will understand who it's about or not? The most important thing is to shoot it on film. I want to convey its magic to the younger generation.
If we go back to photography, which films do you like?
Kodak Ektar 100. — my love and Ilford HP5. Also Ilford Ortho 80; I like the rough black. The last black and white I shot, — Ilford XP2. It's magical; I'll shoot on it constantly. Kodak Portra 160, of course. And Kodak Gold 200. — the gold standard, that's where I started. So, Fujifilm was skipped, and I haven't tried slide film yet.
By the way, you mentioned so many black-and-white films, but you originally shot only in color. Why did you decide to try black and white now?
I used to see beauty in color. But now I'm hooked on Wim Wenders' films from the '70s and realized that black and white is better. — that's interesting. It creates depth and an unclear abstraction. I noticed this in the trilogy "Kings of the Road," "Alice in the Cities," and "Wrong Move" and decided to replicate it. Some look for references on Pinterest; I look for them in films.
Are there any movie shots you want to recreate?
Yes, I'd like to make a whole series of film cosplay. For example, "Pulp Fiction." — the scene where they sit in a café with a suitcase. Or Jim Jarmusch's "Mystery Train." — the moment when an Asian-looking woman in a motel hands a cigarette to a guy, and his lips are covered in lipstick.
How are you going to transfer this composition to another format? Cinema. — that's not a square frame.
That sometimes puts you in a box. But I've come to terms with it; what matters more to me is what's inside the frame, the story.
We know you've tried many cameras. But have you ever shot with a Zenit or FED?
No, Zenit immediately kills my desire. It seems to me it has as many problems as an old car: something breaks, it creaks. I started with a 1973 Canon FTB, then switched to a Canon AE-1 SLR. And I noticed the difference: the old 1973 Canon has a more analog image, and the new one — kind of closer to digital. And I didn’t like that. Then I switched to the Mamiya RB76. Medium format is a measure of your level in film photography. And this camera came into my hands too early; I couldn’t appreciate all its beauty. Eventually, I sold it. Two years have passed, and I still regret it.
Medium format doesn’t let you rush: you have to stand up, measure everything, turn the dials, click. And you only have 12 shots at your disposal.
Yes! You reminded me of a story. Once I organized a shoot with a friend; he was shooting digitally, and I was on film. We took turns shooting. The friend shoots nonstop: click-click-click, the model changes poses incredibly fast. Then it’s my turn. I come in, set up the tripod, start adjusting the Bronica. I hear myself turning the focus and notice that everyone around is just holding their breath. The model stands still. In the end, I was adjusting everything for about 5 minutes, the clicking sound — and only then did everyone exhale. I really liked it, you feel like the conductor of the shot.
When you shoot digitally, you don’t learn from your mistakes. But if you invest money in film and your shot doesn’t come out, you realize you can’t do it that way because you lose both the shot and your reputation.
By the way, about lost shots. Remember, you once took a Bronica, our consultant Anton explained everything to you, everything was fine. Then you bring the film, and there are only half the shots everywhere.
Yes, yes, I remember. I analyzed and learned a lesson. It happened because I pulled the shutter halfway. If you pull it halfway, the camera allows you to keep clicking, but you had to pull it all the way out. There were about 4 shots there, so thanks for that.
What is the maximum you want to get from analog photography?
I have a dream to make one perfect shot that will make my work more well-known. I think this shot will be spontaneous. It will be made with soul, I will definitely feel it.
So, you want to become famous?
Not exactly, I would like local popularity. Fame allows a person to relax. When an artist is underrated, they create something unique. When you are famous, many things can be forgiven, but I don’t want to be forgiven.