Swedish cinematographer Frida Wendel FSF, acclaimed for her work on various projects, including the recent series ”Vi I Villa” (2022) and the dream project about to be released, ”Ronja the Robber’s Daughter,” recounts her journey from a still photographer to a celebrated cinematographer.
Wendel initially ventured into the world of fashion and commercial photography. However, a chance encounter with the film ”Amelie from Montmartre” became the catalyst for a transformative revelation. Sitting in the dim-lit cinema, Wendel experienced a cinematic epiphany, realizing that her true passion lay in the art of cinematography. Bruno Delbonnel once was told his protagonist role in Wendel’s decision to become a cinematographer, and was very pleased.
Driven by a desire to narrate stories through visuals, she enrolled in film school, embracing a curriculum that allowed her to explore various aspects of filmmaking. It was during this time that she discovered her admiration for epic shots, wide-angle lenses, and the nuanced interplay of light and color. Her cinematic style evolved, influenced by her background in still photography and a penchant for creating visually striking compositions.
Wendel’s diverse portfolio spans music videos, commercials, documentaries, and dramas. Yet, regardless of the genre, her focus remains on storytelling. From her early days working in a rental house to her time at the Swedish film school, she honed her technical skills and learned the intricacies of filmmaking.
Her foray into music documentaries and commercials allowed her to infuse a cinematic touch into seemingly straightforward projects. The experience of thinking on her feet during documentary shoots proved valuable when transitioning to drama, where tight schedules demanded quick, decisive choices.”I’ve done everything, all kinds of movies. But I think the drama has always been the aim”, she emphasizes.
She emphasizes the importance of early involvement in pre-production, nurturing a deep connection with directors and scripts. To her, each project is a unique ”baby” that requires attentive care from its conception.
Frida Wendel recently brought to life a project that she describes as ”the baby of her dreams.” This dream project, based on Astrid Lindgren’s beloved tale, ”Ronja the Robber’s Daughter,” became a reality that exceeded even her wildest expectations.
The journey began when director Lisa James Larsson, Wendel’s collaborator since film school, proposed the opportunity to work at the adaptation of Lindgren’s classic story. ”Ronja the Robber’s Daughter,” set in a medieval fantasy world, revolves around Ronja, a young girl raised among a clan of robbers. The narrative unfolds as Ronja befriends the son of a rival robber clan, leading to a forbidden friendship reminiscent of a Romeo and Juliet tale. The story delves deep into themes of love, nature, and the complex relationship between a father and his daughter.
For Wendel, the project held immense personal significance. Having Ronja as a hero at the age of nine when the first version was released in 1984, Wendel felt a profound connection to the character. ”I felt I was Ronja,” Wendel recalls, expressing her excitement at the opportunity to bring this cherished story to life on screen.
This cinematic venture is not just a personal triumph for Wendel but also marks a historic moment for Swedish production. ”Ronja the Robber’s Daughter” stands as arguably the biggest project in terms of production in Swedish history. The sheer scale, both budget-wise and in terms of complexity, sets it apart as a monumental achievement in the country’s cinematic landscape.
The cinematographic challenge lay in capturing the essence of the medieval fantasy while emphasizing the beauty of the Swedish landscape. Wendel envisioned a visual experience that felt gritty, with a tangible connection to nature. The choice of the camera and lenses became pivotal in realizing this vision.
Coincidentally, as Wendel discussed her vision with Arri, they revealed a new, yet-to-be-officially-announced camera. This Arri Alexa 35, with built-in textures reminiscent of film grain, seemed tailor-made for Wendel’s vision. The timing couldn’t have been more perfect, aligning with the commencement of the 10-month shoot. She shot on Kowa Cine Prominar, and considered that warm yellow flare and beautiful soft edges suited this project perfectly.
The cinematography involved a delicate balance, combining handheld shots, drones, cranes, and intentional graininess to create a visually immersive experience.
Wendel’s fearless approach to filmmaking and her ability to seamlessly blend technical elements with artistic vision resulted in a visually stunning masterpiece. The combination of carefully chosen lenses, the unique texture of the Arri camera, and the captivating costume and set designs created a visual symphony that resonated with the magical essence of ”Ronja the Robber’s Daughter.” As the project unfolded, every day on set became a testament to the serendipitous collaboration of creative minds, producing a result that surpassed expectations.
Wendel’s fearless approach extends to her role on set, where her hands-on style, particularly with handheld shots, extends beyond its aesthetic appeal. It’s about creating an intimate and dynamic connection between the camera, the actors, and the narrative.. In a particularly poignant scene from ”Ronja the Robber’s Daughter”, featuring the lead actress and a wild horse, Wendel describes her approach: ”I just followed her coming up to the horse, around it, stroking it. I followed her hand after her face. It’s quite a long take. My tears just started to roll on my face while shooting it because it was so magical. It was just everything falling into place. It wasn’t supposed to be one-take, but it happened and now in edit it’s there as a one take and it works. Brilliantly, it’s not too long, not too short”.
For Frida Wendel, being a cinematographer is not just about capturing beautiful images; it’s about the collaborative art of storytelling. While acknowledging the obvious responsibilities of aligning with the director’s vision and crafting a narrative through visuals, Wendel emphasized the often overlooked aspect of a cinematographer’s demeanor on set.
She highlighted the significance of the cinematographer’s presence on set, not just in terms of technical execution but in shaping the overall atmosphere. The cinematographer’s role, as Wendel sees it, extends beyond the technical aspects of camera work. She expressed the belief that fostering a positive atmosphere on set is vital for the success of a production. Addressing how one carries themselves, communicates with others, and manages stress can influence the overall energy on set, impacting the quality of the final product.
She underscored the role of a cinematographer as being not only the visual architect of a film but also a facilitator of collaboration between various departments. This includes establishing a strong connection with costume designers, makeup artists, and production designers, recognizing their equal importance in the filmmaking process.
The collaborative spirit, according to Wendel, extends to understanding the needs and concerns of other departments, such as makeup. She stressed the significance of making everyone feel seen and valued, ensuring a harmonious working relationship. Wendel’s approach involves constant communication with other departments, frequently checking in to gauge their satisfaction and address any concerns.
Wendel openly expressed her preference for being behind the camera, whispering ideas to the director, and maintaining a close-knit communication channel with the entire team. Her satisfaction comes from being at the center of the production, where questions and decisions often revolve around her expertise. She relishes the dynamic nature of her role, where quick decisions and opinions can significantly impact the outcome of a scene.
In essence, Frida Wendel’s perspective on the key points of being a cinematographer extends beyond technical prowess. It delves into the realms of emotional intelligence, teamwork, and the ability to create a positive, collaborative atmosphere on set—a perspective that sheds light on the multifaceted nature of this crucial role in filmmaking.
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