Markus Förderer, cinematographer for the film 'September 5', discusses the challenges and creative choices behind capturing the intensity and immediacy of the 1972 Munich Olympics terrorist attack. The filmmakers aimed for a documentary-like style, using handheld cameras, long takes, and a focus on movement to convey the chaotic unfolding of the event.
Markus Förderer quickly understood the challenge of lensing “September 5”: The movie about the ABC sports journalists covering the terrorist attack on Israeli athletes at the 1972 Munich Summer Olympics had to cover 22 hours in 90 minutes of screen time and feel like something compressed yet big, capturing the thickness of tight rooms and the importance of a global event unfolding in real time.
” Then there was the movie’s own 16mm-grain look for the widescreen frame: Because actors would be looking at working monitors showing real footage and not blue screens to be filled in later by a VFX team , the decision was made to forgo shooting on celluloid. “We love the look of film, but it’s not as sensitive as digital cameras, and we had TV screens as a light source, and our characters wear glasses, so the monitors would be reflected in them,” says Förderer.
Cinematography Documentary Style Long Takes Handheld Cameras Munich Olympics
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