ABSTRACT
Making a dramatic film is unavoidably an expensive process with its many industrialized stages made necessary by the pressing need to work efficiently. With a number of well-respected films under his belt-in particular Leaving Las Vegas (1995), Miss Julie (2000), Timecode (2000), and Hotel (2001)—Mike Figgis has greeted the scaled-down nature of digital filmmaking with relief:
No system or procedure is sacrosanct, and you must make yours adjust to the needs and scale of your production.
