Sarah Greenwood

Sarah Greenwood

AS: Nowadays, because of tax incentives in the States, Louisiana is doubling for many other locations that look nothing like Louisiana.
SG: When I was over in LA working on the Soloist with Joe I remember I was having an argument with an accountant about how we have to go to Cleveland to shoot a small sequence in Cleveland. I was saying, We have to go to Cleveland because it’s so different from LA, and they were arguing with me saying, Well, you’ll go where we tell you to shoot.

And I go, Well, hang on a minute, since when has that happened? On Sherlock we could have afforded to go to Paris and Germany and everything but the whole thing was we only had Robert for a very limited amount of time and we didn’t have the time in the schedule to be doing him traveling. And the risks of traveling in the snow –either having no snow or getting snowed in. So you really have to think hard about how you can make it work doing it in London. I’m really interested to see how it turns out.

AS: How is it to work in London compared to other places you’ve worked like Prague and Finland and Morocco and now Russia?
SG: From my point of view London is fantastic because it’s home. It still has a very strong kind of film structure here. At the moment we are swamped with too much work. And last year was the same. You know, finding studio space, fighting for crew. When you go to all the prop-houses you know you’re constantly doing deals with colleagues working on other films. If you get that back in time we’ll give you this if you give us that. It is a like a kind of bartering system. London is fantastic for film making. England as a whole is very good for film making -there’s an incredible variety of landscapes and architecture.

AS: When you go abroad do you bring crews or use local people?
SG: We brought British crews to Morocco and to Finland as well. We used German crews in Berlin. We were out of Babelsberg Studios, which, between you and I, was not a marriage made in heaven for me.

AS: Working with Guy Ritchie and Joe Wright –are those guys very visual?
SG: Do you know something -they’re polar opposites. They both have a fantastic kind of vision. I would say Joe is very visual and working with him is a real treat. But equally Guy is very visual and very appreciative of what you give him.

Guy had never done period. You say to him, Don’t worry about that, let’s do the story. The actual practicalities of the visual will come. The authenticity had to be absolutely as spot-on as we could make it to allow that madness to come within it.

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About the Interviewer

Tom Lisowski is a production designer who has designed swamp mazes shot in China, crumbling cliffs in Utah, future arenas in South Central, dilapidated tenements and twisted laboratories under luxurious mansions... William Anthony is a Los Angeles-based commercial and editorial photographer specializing in portraiture, lifestyle and documentary imagery... Guest photographer Nelson Cragg is an award-winning cinematographer who shoots and directs television, feature films, and commercial projects. Contact ArtStars: