American Cinematographer - September 2019 - 97

[McCormack is seen] as a young lad,
and we had to do some stylizing on it.
It had to feel natural, but it also had to
feel like we were looking back in time."
With The Silver Branch complete,
Costello remains hard at work in the
Irish countryside. "I'm working on
a documentary for local broadcaster
RTÉ. It's a geological, archaeological, ecological study of the Burren, a
factual two-by-one-hour documentary.
It's such a different gig, a different
buzz. I miss the poetic, hypnotic style of
The Silver Branch, but I am constantly
fascinated and humbled by the depth of
knowledge and insights that my
contributors are sharing with me about
the Burren."
Despite the success of The Silver
Branch, the economic reality of Burren
life remains uncompromising. The
documentary ends with McCormack
referring to his children's decision to
leave the area in search of work. "That

Brown echoes Costello's intention to show things as they are. "The characters
themselves just look so fantastic," he says. "The magic is in the authenticity and the
moment, and not steaming into someone's cottage and lighting it. You'd lose so much
of the potential magic by doing that. I think what I've realized over the years is that
authenticity counts for a huge amount. Most of your audience doesn't really care
what the imagery is, but they do care at some level that there's some authenticity
there. That's one of the real qualities of the film. It's authentic, and it was shot by
someone who loved the subject and lived the subject. That's documentary-making at
its best, really."
interview with Patrick and his wife,
Cheryl, was the last day of shooting,"
Costello recalls, "and it wasn't what I
expected. I tried to move seamlessly
around Patrick and Cheryl with one
camera as they spoke deeply with each
other. It really summed up the irony
that the farm could only sustain one
wage. Our demands have gotten
greater than they were when we were
growing up."
She trails off, the collision
between the traditional and the

modern perhaps too broad in scope to
easily express. But then Costello
returns to what first drove her to tackle
The Silver Branch. "I can remember
sitting up on the mountains, in the
Burren, thinking, 'I've been to the
Amazon, to Asia, all the wonders of
the world - and here's this landscape,
and it's never been documented.' I can
remember sitting there in the stillness
and feeling like a child again, I
suppose, and wanting to show the
world." u

97

https://www.quasarscience.com/

American Cinematographer - September 2019

Table of Contents for the Digital Edition of American Cinematographer - September 2019

Contents
American Cinematographer - September 2019 - Cover1
American Cinematographer - September 2019 - Cover2
American Cinematographer - September 2019 - 1
American Cinematographer - September 2019 - Contents
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