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SENTIMENTAL EDUCATION - Feature Film (1997)FORMAT: 35mm (Arri & Moviecam) Location: Amsterdam The story revolves around the present-day lives of a group of international fashion models, focusing on the main character, Fabrice. The film examines the hollowness of his glamorous lifestyle, leading to self discovery and ultimately a personal catharsis (and his own death). SENTIMENTAL?Comments by the Director of Photography, Peter Gray Sentimental Education was my last feature film in Europe before relocating to Los Angeles in 1998. So in a sense, it has some sentimental significance to me, as well. The writer/director, Christian Leigh, is an American who spent many years living and working in Europe (including France, Holland, and Denmark). His film was loosely based, or rather inspired by, the French Book, L'EDUCATION SENTIMENTALE, by Gustave Flaubert. The Amsterdam-based producers are Wildshot Pictures B.V. (Alec Behrens and Marijn Muijser), who had co-produced the award-winning anamorphic short film, THE BRIDGE, that I had shot for them in 1995. The international composition of the cast was exceptional for a Dutch production. In addition to several well-known actors from Holland (including Thom Hoffman), the cast was comprised of name actors from France, including the main star and co-star, Clément Sibony and Julie Gayet. Another significant contingent came from the U.K. The Canadian-based actor, Arsinee Khanjian, from Atom Agoyan's EXOTICA also plays in the film. In addition, there were actors from the USA and Australia in the film's many and varied roles. The language of the film is (mostly) English throughout. The cameras were a Moviecam Super America Mark II, and an Arriflex BL 4, using Carl Zeiss primes lenses. We used the Moviecam to do some in-camera speed ramping while simultaneously making exposure adjustments via a servo motor rotating the aperture ring. The system was a little temperamental, but it worked well enough to get the shots we needed. The film stock was Kodak Vision 5279 (E.I. 500 tungsten). I was later told by Kodak that this emulsion has been their biggest selling product line for many years. In other words, the most popular emulsion choice for directors, producers, and cinematographers alike. The negative processing was done at Bucks Laboratory in London. The film was shot in two consecutive shooting periods, separated by a Christmas break of about two months. Of interest, the Paris-based editor, Katherine Quesmand, has edited films for Truffaut and Godard. Unfortunately, disaster struck the project in the middle of post production. The principle production company's assets were frozen in the first stages of bankruptcy proceedings. By paying a 15% settlement to their creditors, they managed to save the company, but not the film. To my knowledge, the film was never completed, or released.
Peter Gray
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