Darius Wolski ASC

Optimo Spherical
Affiche The Martian

The Martian

Director

Ridley Scott

Cinematographer

Dariusz Wolski ASC

Shot with

Optimo 45-120, Optimo 15-40, Optimo 28-76

Darius Wolski ASC « The Martian »

“[...] Is there anything you’d like about Angénieux? "It’s a fantastic modern lens right now. I mean, their short zooms are revolutionary. If you have to make a low-budget film, you can take one camera, and you can take those two zooms, and you can shoot the entire film with two short zooms. You can hand-hold, you can use them as variable primes. They are practical. That’s how we do our big 3-D movies."”

JON FAUER
Tell me a little bit about your current job, “The Martian.”  

DARIUS WOLSKI
It is directed by Ridley Scott. We describe it as Robinson Crusoe on Mars: an astronaut stranded on Mars  struggles to survive. It stars Jessica Chastain, Kate Mara, Kristen Wiig, and Matt Damon. It’s not Sci-Fi. The story is realistic. It’s very interesting; everything the astronaut does is quite feasible. We have consultants from NASA and they say, “You can’t do this; yes, you can do that.”  So our character grows potatoes on Mars and there are attempts to rescue him and so forth.

JON FAUER
And you’re shooting this in 3-D? 

DARIUS WOLSKI
It’s 3-D, yes.

JON FAUER
What equipment are you using?

DARIUS WOLSKI
Panavision equipment and 3ality. Since my early 3-D days, we used RED cameras because of the size. Now we’re using RED Dragons. Our lenses are small Angenieux Optimo zoom lenses, so we don’t have to change lenses to change focal lengths. The biggest problem in 3D is changing lenses, because that takes forever. Basically we devised a system with lots of multiple cameras. This movie has four rigs.

JON FAUER
What format will “The Martian” be released in?

DARIUS WOLSKI
Widescreen — 2.35:1

JON FAUER
And you’re composing that way? Or leaving extra room for effects?

DARIUS WOLSKI
No. We compose the shot carefully. Ridley is quite precise about composition. He is a visual director.

JON FAUER
Do you have anything you’d like to add about Angenieux?

DARIUS WOLSKI
It’s a fantastic modern lens right now. I mean, their short zooms are revolutionary. If you have to make a low-budget film, you can take one camera, and you can take those two zooms, and you can shoot the entire film with two short zooms. You can hand-hold, you can use them as variable primes. They are practical. That’s how we do our big 3-D movies. But we are pretty much  shooting our whole film with two lenses. The bottom line is that’s pretty much all you need. Unless there’s an effects shot that needs a super long lens or super wide lens. And I think if you talk to every experienced director, that’s what they will tell you.
There’s no mystery to it. I mean, one director will go a little bit longer, some a little wider, but the bottom line is that’s how you tell the story. And those Angnieux zooms have all that range in one or two lenses.

JON FAUER
Tell us a little bit about your background and how you got started.

DARIUS WOLSKI
I went to film school in Lodz, Poland. Then I came to New York. Tried to get a job, worked as a camera assistant and then went to L.A. where I started in music videos, commercials, and movies.

The Martian
by Ridley Scott
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