A Haunting In Venice Cinematographer Haris Zambarloukos On Collaborating With Kenneth Branagh

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A Haunting In Venice Cinematographer Haris Zambarloukos On Collaborating With Kenneth Branagh
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Poirot's back for A Haunting In Venice.

Summary Hercule Poirot has retired from detective work and is living in self-imposed exile in A Haunting In Venice. He gets pulled back into the mystery business by an old associate who invites him to a séance in the hopes of sparking his interest in the famed medium. However, when a guest is murdered Poirot will once again need to step into the role of investigator to discover who the killer is.

Haris Zambarloukos: He really loves Agatha Christie, these novels, and this character. He studied them meticulously and I think this was a wonderful film to make in that it was a more unknown film. An unknown story by by by Christie. It hasn't been interpreted as a film in the past. It's an adaptation of Hallowe'en Party.

And about understanding of the human condition in these extreme ways. In this case, I think, we've not done that part of taking the audience to a new and wonderful place so much. And we've just dived straight into a post World War II environment. An older Poirot. A kind of more haunted Poirot and in all of this is a reluctant detective to begin with. I think, just from that, get go, you just start in a deeper world, I think.

Michelle Yeoh' performance during the séance, Kelly's performance, young Jude Hill - it's all in the performances. So if you actually view it carefully, then it's not so much what you see, it's what you feel. I think that's where Ken and I decided to shoot this in such an intimate way. That we would let these performances shine through and tell the story for us.

But I think you should view this in terms of understanding and maybe trying to be if you wanted to try and be slightly ahead of the game on an emotional level. I think that's the interpretation we were hoping for. That's the thing that maybe sets this apart from other films in this genre, and maybe. And I think that's really the kind of genius that Ken brought to this. His mise en scene there in the body language is incredible.

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