[on cinematographer
Marius Panduru] We started in [film] school [together], and we are so in love with the 35mm film stock. We were all the time trying to find the good solution for each movie. At a certain point [shooting
Heidi (2019)], the film stock disappeared somehow. We thought, "Now we have to adapt, let's try to use digital." We started talking like that, how we will do this. And after one week of talking, he came to me and said, "I have the solution. We will shoot it on 16." [Laughs.] I said, "Okay, that's the solution." You cannot replace film stock. On this movie, it was very important that we shoot it on 16mm. Yes, you can do the color grading and all that. But if you catch the atmosphere on the film stock - this place outside Bucharest, that mud and that haze. I think it was the best solution. It was like we found each other again after a long separation. We really discovered a language that we could use, and we developed that language. [2019]
