SAG was 51 days deep into its strike against the studios.
Libatique was calling into us at Polands EnergaCamerimage Film Festival, whereMaestrois playing in the main cinematography-focused competition.
Camerimageruns until Nov 18.
L-R Bradley Cooper, cinematographer Matthew Libatique and Carey Mulligan on the set of MaestroNetflix
What has it been like seeing the response to the film while being slightly removed from it all?
MATTHEW LIBATIQUE:Its actually been better than usual.
Its actually a lot of work when promoting a film.
So its been great.
Theres been a lot of positive feedback, and Ive been told the reviews are good.
DEADLINE: What initially made you feel like Bradley Cooper was someone you might want to work with?
Theres usually a lot of snobbery around actors moving into directing.
LIBATIQUE:It was from the first time I met him, to be honest.
We just hit it off.
It was our first meeting forA Star Is Born.
And it was the way he approached cinema.
Hes a student of the game.
Every time I see him, hes learned a little bit more.
DEADLINE: Im from the UK, so I didnt know much about Leonard Bernstein.
And how did you get on board the film?
LIBATIQUE:I didnt know much about him either.
I knew of him throughWest Side StoryandOn The Waterfront.
I wasnt familiar with his own music.
Bradley brought me on.
It was right after we didA Star Is Born, and we were going through award season.
He was talking to me about this new film idea he was inspired by, and it was this.
I was just excited.
He was so inspired, and I like to be around that energy.
Also, Im a fan of biopics.
I like the study of one person.
So that was intriguing to me.
And I was interested in the idea of shooting the different periods.
DEADLINE:The film moves through several different formats include black and white, 4:3 frame and the widescreen.
Can you talk me through this decisions?
LIBATIQUE:Bradley always saw the film in black and white.
The question was when would it go to color.
We shot tests on every format and aspect ratio, and I think Bradley liked the conflict.
Theres a horizontal confinement to that frame.
And then, if you notice, the film opens at 1:85 after she passes.
Now theres this lonely man inside the frame.
And we shot on film.
It was inexplicable, a very clean, beautiful black and white in the monochrome cameras.
LIBATIQUE:No, I still shoot for a screen.
But I think the aspiration really is to shoot and present in front of an audience of strangers.
DEADLINE:Lets talk about the standpoint scene at the cathedral when Leonard is composing Mahler No.
Its an amazing scene and many people are discussing it here at Camerimage.
Can you talk me through it?
I thought, how the hell am I gonna light this space?
So there was a certain amount of fear, but I had a wonderful team out of London.
The soul of the scene is what also makes it into one of Bradleys films.
That experience was one of the highlights of my career.
I had never been surrounded by an orchestra before.
You had the London Philharmonic, and I was sitting in the front pew during our pre-light.
They were rehearsing, and I knew I was in a special place.
We were destined for something cool to happen in that scene.
Its just a powerful moment.
DEADLINE:I actually know Ely cathedral quite well.
How was shooting there?
And I know you also shot in the Bernstein familys actual home.
LIBATIQUE:Its quite old.
But its very big.
And theres some modernizations to it.
It served us well.
It was a little harder at the Bernstein summer home in Fairfield, Connecticut.
We were nervous about bringing the crane on the house grounds with the big lights.
It felt like we were okay and had been given permission to do this by Lennys ghosts.
LIBATIQUE:Well, its a good question.
He would show up extremely early on his shoot days.
When I showed up at call time, he was typically almost ready.
We realized we just had to get used to it.
And when instead of planning several shots all at once, Bradley would work on one or two.
He would take a viewfinder and just walk the scene like Leonard Bernstein.
And as we blocked the scenes, we would figure out ways to maybe keep the camera going.
There was a very easy flow to it.
DEADLINE:The film was produced by Martin Scorsese and Steven Spielberg.
Both are known to be very hands on.
Did they visit the set?
LIBATIQUE:We never saw Marty.
He didnt come by.
But Steven came by numerous times.
And wow, how cool is it to chop it up with Steven Spielberg.
It was very cool.
Hes such an icon, but was super approachable and just shared his wealth of knowledge.
He talked to me about black and white films and the history of American cinema.
It was a good energy to be around while making the film.
DEADLINE:What are you up to next?
LIBATIQUE:I dont know what Im doing next, to be honest with you.
The strike just ended.
So Im in a good place being available and open to things.
Ideally, Im working with somebody Ive worked with before.
I enjoy that, whether its Darren, Spike, or Bradley.
Its chaotic trying to organize a film at this time.
But, hopefully, Ill be on something in a week or so.
DEADLINE:Oh, and you also shot Darren Aronofskys film for the Vegas sphere, Postcard From Earth.
Did you get to see it at the sphere?
LIBATIQUE:Its a space you should see if you get the chance.
Just imagine sitting somewhere where the screen is bigger than your peripheral vision.
Its almost 360 degrees, and it feels pretty damn close.
The fidelity of this camera MGM developed, its 16k, and the images are vivid.
And the screen holds up.
I was worried that it would look like a giant TV screen.
But its actually quite cinematic.
Its going be interesting to see what plays there in the future because its such a large screen.
Storytelling is going to change because you cant do a giant close-up on that screen.
The person will just look like a giant.
I think what we did was a good introduction to the technology.
