Photographer Clay Enos Talks ’300: Rise Of An Empire’ Posted by Wilson Morales
March 5, 2014
Coming out this week is ’300: Rise of an Empire,’ the sequel to Zack Snyder’s ’300.’
Based on Frank Miller’s latest graphic novel “Xerxes” and told in the breathtaking visual style of the blockbuster “300,” this new chapter of the epic saga takes the action to a fresh battlefield—on the sea—as Greek general Themistokles (Sullivan Stapleton) attempts to unite all of Greece by leading the charge that will change the course of the war. “300: Rise of an Empire” pits Themistokles against the massive invading Persian forces led by mortal-turned-god Xerxes (Rodrigo Santoro), and Artemesia (Eva Green), vengeful commander of the Persia.
Most recently, at a special reception at New York City’s held at Stitch Bar & Lounge following the screening, Blackfilm.com had the opportunity to speak with photographer Clay Enos, whose portraits from the film were on display. Enos first worked with co-writer and “300” director Zack Synder on “Watchmen,” and subsequently his other films such as “Sucker Punch” and “Man of Steel.”
How cool is it to work with Zack again with this film?
Clay Enos: Ever since Watchmen I’ve been working with Zack and his crew to make still photographs. What was cool about this one was I had visited the set of the first ‘300.’ That’s where the idea that I could be an on-set photographer was born and now here I am, on the set of a another ‘300’ movie and all those swords, shields, and abs I had seen back in Montreal were right in front of me and it was my responsibility to take photos.
Was there anything different between how you took photos for this film and The Watchmen?
CE: Every project is a little different. For one, Watchmen was my first and it was trial by fire. I had no idea what I was doing. All I knew was I was taking pictures of everything I saw because it was all so amazing. I guess I took the things that worked so well on The Watchmen like the portraits; and I continued with that and refined my on-set shooting to know where I could focus my efforts.
Was there anything you wanted on the background?
CE: I love portraits on white background. It’s a well worn aesthetic within the history of photography. Fifty percent of magazines have white backgrounds; but it’s just a way to focus on the person, on the human aspect of any given film. Tonight we’re looking at images of people in the film, but I also took pics of the folks behind the scenes.
What camera did you use?
CE: I’m a Nikon guy, but I also have a D3, D3s, D600 and an iPhone 5s. It’s not about the gear, but the connection of what’s driving me to take this picture and properly rendering that desire.
Is there any particular photo that’s a favorite?
CE: From the film? Obviously, I love the portraits, and the posters are really fun. They have taken my photographs and run them through their photoshop wizardry to make something that will speak forever about this film. The other side is that I love the photograph of Rodrigo and there’s a photograph of actor Jack O’Connell in the book were the eyes are the focus. It really speaks to what a photograph is.
How excited are you to have your photos from The Watchmen and this film on display?
CE: I got into photography because a number of people inspired me. It’s super cool to think that my work is inspiring future endeavor by other artists. It’s fascinating to think that I’m part of an inspiration.
What more can you say about 300: Rise of an Empire?
CE: That people fought and died for democracy once upon a time. If you want to explore history, go and look up the Battle of Salamis. Go see this film and have a good time exploring the unique properties of modern filmmaking and that can transport you into this amazing vision. There’s a lot of artistic work going into this film. Go in for the ride and have a good time.
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