PRODUCTION THE OUTRUN
IN ORKNEY, YOU NEED TO BE soft and beautiful , THEN hard and contrasty IN LONDON. WE DID IT the other way around, BUT THIS WAS IMPORTANT”
UNPACKING THE KIT Imer captured the film with the ARRI ALEXA Mini and used Panavision C Series lenses for the flashback sequences. “They are exquisite lenses,” he says. “Panavision were a great support and we were lucky we got them for our not- so-huge budget. I really like the look of Panavision lenses and the way they blur highlights. They are also lightweight and relatively easy to handle as anamorphic lenses. For the documentary-type strings in between chapters, I had an ARRI AMIRA with me most of the time, plus a Super 16 Cooke 10.4-52mm zoom. I kept it in the trunk of my car, always available.” For the Orkney scenes, Imer used Panavision Primo prime lenses. “They are very subtle optics and almost don’t distort,” he explains. “They blur
how to show parts of her life like her fight for sobriety – as much of her journey as possible – to be able to depict the world she lives in. We also spoke about how to approach alcoholism because we know it’s a serious topic that effects lots of people. Sometimes, you need the right amount of lightness or sense of humour to approach serious topics. What I like about Nora’s approach is that she does it with lots of respect and research.” Amy Liptrot co-wrote the screenplay alongside Fingscheidt, and some of the original locations were used to capture the film. “We filmed in her dad’s actual caravan and also on Papa Westray, where she wrote the book. We tried to approach the community of Papay and the Orkney Islands, and Amy’s story, as respectfully as possible by taking this
topic seriously. Of course, you need to take creative decisions for the film and narrative storylines,” explains Imer. Art director Andy Drummond brought in lots of pictures and films for reference. “Andy worked on the Scottish film Limbo ,” adds Imer. “It’s beautifully shot; I recall watching it to see how films on a remote Scottish island might look, although that’s a different mood from ours. Plenty of films come up when you think about alcoholism or drug abuse, but none directly aligned with our movie. “We mixed in a few references, but already had this vision of blurry London flashbacks with lots of motion. We also discussed Another Round , as Nora likes how the camera rocks like a boat in that film. I thought about that when shooting, but we didn’t have one clear reference.”
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