CAREERS
with Brutes, which are arc lights. There was plenty of tungsten around at that time. Then came the HMIs, up until the 18Ks, and then, most recently, we’ve had LEDs. LED lighting has been my biggest learning curve because everything is electronic. It’s technology with which you had to start from scratch, learning colour techniques and terminology. It’s a whole new ball game.” Garside’s preferred piece of gear is the Creamsource Vortex. “I also have Astera tubes and a number of lamps,” he elaborates. “What I have usually fits the bill, but I’ll use new technology for niche areas. I’m quite happy with the tech I have at the moment. Maybe in a couple of years’ time, something will come out which has moved on enough for me to warrant owning. You can still use older technology, but it’s important to understand the limitations and where it fits in. Unfortunately, much of it isn’t kept any more as it doesn’t perform efficiently or offer the flexibility your DOP needs.” One of Garside’s most challenging recent projects was The Hobbit trilogy, with production lasting for around two years. “It was demanding because we were jumping around several stages and sets,” he admits. “But it’s all about organisation, especially on something of this scale. Once you’ve finished pre- production and start shooting a film, all your energy goes into being on-set. This is where your rigging gaffer and off-set crew really come into their own. They are your eyes and ears off-set. ”The film is ever-evolving, therefore information must be relayed to you,” he continues. “It never stops and various things keep getting thrown at you, so you have to be able to react to them. It comes with experience and training; the more you do it, the more you understand what needs thinking about. As soon as you get your plans, it’s important to talk to your DOP about how sets should be lit.
TWO FOR ONE Both The Mosquito Coast (above) and The Bluff (left) demonstrate Garside’s ability to light for various types of location
After you get to know your DOP, you can second-guess them but always maintain a dialogue with them. A good relationship is a balance between ideas and what-ifs. What I say to my lads on-set is: ‘If I ask you to do something but you think of something better, then by all means let me know.’ That creative thinking from your entire crew is critical. I include all of them and they feel part of what’s going on, and that’s what’s important.” Garside is proud of all his projects, although one he frequently revisits is The
Mosquito Coast . “It’s one of my favourites purely because it was my first major one overseas,” he muses. “ The Mosquito Coast taught me a lot and I have utilised that knowledge on all my other films. You have to enjoy what you are doing, always put 100% into it and be there for your DOP to help them out. “Ask questions. Never assume you know everything because the day you think you know everything is the day you should walk away. You learn every single day, and every day is a new challenge. As I say to my guys, just enjoy what you are doing. It’s hard work and you will see the effort you put into the project when you watch the film.” Garside concludes: “There have been many ups and downs during my time in the film industry, but we have always come out of it stronger and wiser. It’s all part of the learning curve and has been very rewarding.”
A good relationship IS A BALANCE BETWEEN ideas and what-ifs ”
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