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Laurence King Publishing

in association with
Harper Design International
an imprint of HarperCollinsPublishers
“
LAURENCE KING

First published in 2004 by Laurence King Publishing Lt d

71 Great Russell Street
London WC1 B 3BP
United Kingdom
Tel ‘ + 44 20 7430 8850
Fax ‘ + 44 20 7430 8880
e-mail: enquiries@laurenceking.co.uk
www.laurenceking.co.uk

First published in the United States in 2004 by

Harper Design Intemational
An imprint of HarperCollinsPublishers
10 East 53rd Street
New York , NY 10022
Fax: (212) 207 7654

Harper Collins books may be purchased for educational ,

business , α sales promotional use. For information , please
write to:
Special Markets Department
HaperColl insPublishers Inc.
10 East 53rd Street
New York , NY 10022

Text (Ç) 2004 Alexander Ballinger

This book was designed and produced by

Laurence King Publishing Lt d , London
j

AII rights reserved. No part of this publication

may be reproduced or transmitted in any form or
by any πleans ， electronic or mechanical , including
photocopy, recording or any infomation storage
and retrieval system , w ithout prior permission in
writing from the publisher.

A catalogue record for this book is available

from the British Li brary

ISBN 1 85669 334 1

Designed by Simon Osbome

Printed in China
 5 Contents 102 John Mathieson
Contents 6 Acknowledgements 104 Love is the Oevil
7 Preface and Oedication 108 Gladiator
114 Hannibal
8 Lance Acord 118 K-PAX
10 Buffalo ’ 66 122 Matchstick Men
14 Being John Malkovich
22 The Oangerous Li ves of Altar Boys 128 Seamus McGarvey
24 Adaptation 130 The Winter Guest
30 Lost in Translation 132 Th eWarZone
138 High Fidelity
38 Jean-Yves Escoffier 140 Enigπ1a
40 Boy Meets Girl 146 Wít
44 Mauvais Sang 150 The Hours
Bad Blood
50 Les Amants du Pont-Neuf 158 Harris Savides
Lovers on the Pont-Neuf 160 The Game
56 Gummo 166 The Yards
62 Nurse Betty 174 Gerry
64 Possession 180 Elephant
67 The Human Stain
186 Glossary
68 Oarius Khondji 187 Picture Credits
70 Oelicatessen 189 Index
74 La Cité des enfants perdus
City of Lost Children
80 Seven
84 Stealing Beauty
90 Alien Resurrection
96 The Beach
100 Anything Else
 New Cinematographers has been a complex
Acknowledgements and exacting project and its publication would
not have been possible without the help 01 the
following people.
Lance Acord , Jean-Yves Escoffier, Darius
Khondji , John Mathieson , Seamus McGarvey
and Harris Savides for so generously giving up
their time to be interviewed , providing welcome
hospitality and setting up essential screenings.
Their support for the project has been crucial.
Ahmad Ahmadzadeh from AIM Image , Simon
Audley and Martin Humphries Irom The Ronald
Grant Archive , Felicity Awdry, Véronique Bahuet
and Anne Marie Casalta Irom the Cannes Film
Festival , Richard , Penelope , Camilla , Caroline
and Christina Ballinger, Richard Barnet , John
Beard , Raymond Bilbool from The Secret
Garden in Los Angeles , Stuart Bunting ,
Maureen Burke , Leos Carax , Peter Care ,
Michael Carlin , Annie Chassagne , Sofia
Coppola , Mark Cousins , Peter Cowie , Sean
Delaney, Ayesha Khan , Anastasia Kerameos ,
Christophe Dupin and all the excellent staff 01
the BFI Li brary, Pam 티 lis ， Angus Finney, Marisa
Forzano , Ed Gallafent , Maria Gallagher Snr,
Benoit Gassiot-Talabot , James Gray, Noel
Greenwood from the NFTS library, Bee and
Robert Guinan , Nina Harding from BFI Stills
Posters and Designs , Tim Harms , Phil Hendy,
Sophie Janson , Ross Katz , Jackie Kelman-
Bisbee , Lei Levi and Mavourneen Michiels from
Park Pictures , Derek Kendall, Anne Lesage ,
Albeη Loeb , Th omas Maurer, Lucy Mazdon ,
Gavin McLean , Chiara Menage , John Nichol
from Zwemmer, Nigel and Monica Phelps , lan
Pierce and NB: Studio , Plum , Gideon Ponte ,
Clare Preston , Jesus Robles from Ocho Y
Medio , Jonathan Romney, Alex Scott , Jane
Shaw, Philip Sindall ,Greg Spence from HBO
Films , Tim Spitzer, Rebecca Staffolani, Joseph
Szabo , Maria Tamander, Gus Van Sant , Michael
Vasquez and Sandra Marsh Management ,
Ginette Vincendeau , Patrizia Von Brandenstein ,
Marc Wahli from Magma , Lee Walters , June
Warrington , Jake Werksman , Laura Willis , Dany
Wolf , Jason Wood , Stuart Wurtzel and Fred
Zentner Irom The Cinema Bookshop.
I am also indebted to Sonia Lee for her great
kindness in allowing me access to Jean-Yves
Escoffier's archive and to Maria Gallagher lor
granting permission to use Jean-Yves Escoffier's
archival images in the book. Th e Escoffier
section would not be complete without the
interviews held with Neil LaBute and Robert
Benton , whom I would like to thank. I would like
to extend special thanks to my friends Emma
Bradlord and Neil Philip lor their sage advice
throughout the project and lor sharing their
considerable publishing experience with me. I
am also extremely gratelul to David Parkinson
lor his intellectual support and lor sharing his
extraordinary lilm knowledge with me. My Iriend
and lellow MPC runner, Shaun Dyos Ireely
devoted many hours 01 his time helping with the
book ’s illustrations lor which I will be always
gratelul
The book was in very capable hands in its
closing stages and was designed effortlessly
and instinctively by Simon Osborne Irom
Www.osbornestudios.corD who worked tirelessly
on it , often beyond the call 01 duty. The book
would simply not exist without Laurence King
and his publishing house , both 01 which
represent the very best in independent
publishing. My experienced editor, Philip Cooper,
has been a constant source 01 calm guidance
and advice without whose intellectual rigour the
book would not have realised its lull potential. I
owe him a great debt 01 thanks
Lastly my thanks and love go to Abigail lor her
encouragement and support during the lengthy
editing and sometimes gruelling workload 01
New Cinematographers. She transcribed many
。I the interviews , proolread text and captions
and cast her writer’'s eye over the manuscript ,
while putting up with an irascible and often
absent editor/ husband. New Cinematographers
would not have been hall so much lun without
her help and company
~
3 Billy on his way to Buftal 。
from prison
4 Th e high angle “ God ’ s eye
view" on Billy “ The long lens
created a detachment and a
weird flattened point of view."
5 “ The hotel roam scene is the
。 ne moment when Billy lets
Layla into his life. We did not
film in the bedroom set, but
went to a different part of the
stage where we could get even
higher. We were on a longish
lens looking down on them
which had a different psycho-
logical effec t."
that time that was processing 35 mm reversa l.
There were some , but they were running it
through the same sort of bath that a dirty dupe
would go through , which is basically a reversal
stock - a duplicate stock that ’'s used for a one-
off sound mix and often thrown away, so there ’s
not much care that goes into processing it. So 1
knew that wasn’t going to work. 1 wasn ’t inter-
ested at all in cross-processing it , 1 didn 't want
that sort of look as 1 really wanted it to look like
seventies reversal film in all its rugged beauty. 1
had been talking to Jo Bono down at Arlington ,
Virginia at Bono Film and Video and he and his
son Tim had purchased a 35 mm processor
that they were going to convert to run reversal
film . They told me that if we could commit t。
doing the movie with them , they could have it
going in two weeks , but we were at that point a
little more than a week out from shooting. So
we were going into shooting this movie if we
worked with this lab and t댄y:re not even going
to be running our film until a week after we ’ ve
started shooting , so we could forget about
doing any film tests!
It was really a white knuckler and 1 went back to
doing a still technique , which is when you shoot
E6 film , you do front or end clips , little snip tests
and then you can gauge the push on the rest of
the roll off that. For each scene , 1 did it with
stand-ins or even sometimes with the talent
before the action , by rolling 20 ft of film and
then holding the scene with that snip test. S。
camera rolls A2 2 through to A2 8 , corresponded
to snip 4 or whatever. Then we ran the snip
test8, looked at them in my hotel room on a
light table with rewinds and a film loop and then
we based the push . 1 would shoot everything at
push 1. So then based on the snip test , you
could either pull back to normal or push it fur
ther. And we found that y。니 could push it easily
2-2 1/2 stops before it totally fell apart. So you
could run that waι but we were halfway into
that film before we had any film back from
the lab
1 was getting so worried that 1 spent one week-
end during the shooting down at the Arlington
lab. On that Saturday 1 flew down because they
were just starting to get some film off and 1
wanted to be there because they had stacks of
film corresponding to these clips. 1 was exhaust-
ed and ended up sleeping down in their back-
room where they had these old Moviolas. As
the film started coming off , 1 was able to look at
it and it was my first movie too , can you imag
ine? In the beginning we had drying and rinsing
problems which made matter8 worse. 1 would
go in there and Jo and Tim would be shimming
this and shimming that and it was crazy. Since
then , there ’'s been a big demand for reversal
Lance Acord
stocks and Tom Siegel shot a fair amount of
Three Kings (David O. Russell , 1999) on rever-
sal. Kodak has subsequently released another
100 daylight reversal stock , it ’'s a cleaner one
and more like a still stock that they now spool
down , whereas the older stock we used in Buf-
떠10 ’ 66 was Kodak 160T 5239. 1 believe the
bases have become stronger since the 70s , but
the emulsions are similar. By today ’'s standards
they are very crude with a total lack of any sub
tlety in regards to secondary colours. It ’'s all
about the primary colours - blue , red and yel
low. When yo니 get into the subtle shades of
green it just goes away into grey and black
which was great for that film. We went to John
Allen [Acord had worked with Allen at Ci nema
Arts while photographic assistant to Bruce
Weber], an amazing artist who did all the chal-
lenging printing on Bruce ’'s films , Let's Get Lost
(1988) and Broken Noses (1987). He did a lot
with the interneg on Buffalo ’66 because the
contrast level doesn ’t print that well and there
aren ’t intermediate stocks designed for reversa l.
We flashed and post-flashed the neg to get the
contrast back without gaining too much in the
printing process
We shot the film as wide open as possible
throughou t. In some ways that wasn ’t so much
a stylistic decision in regards to depth of field , it
was because we were working with a relatively
slow film stock. It's a film stock that doesn ’ t
expose to red light , tungsten light or light that ’s
in the warm end of the spectrum the same way
that it does with dayligh t. It takes more , so we
had to overrate it and overexpose it a lot of
times for merely practical reasons. We were
using open faced Photofloods a lot , like Might-
ies or Mickeys even in daytime exteriors , not
through any diffusion , so it would be like a 2K
Mickey held close to the subject in cold
winter light and we were using half blue on it to
balance it with the dayligh t. As the stock was a
daylight -balanced stock , we were adding half
blue to the tungsten lights to bring the tungsten
back halfway to daylight. It was shot on an
uncorrected tungsten stock just because of the
coldness of Buffal。 ’s light. When you look at
skin and people ’s faces in colour with hard light
。 n theπ1 ， there is a texture and 1 think it creates
this weird v비 nerability in the actors. It ’s really
revealing , that kind of tungsten light source on
colour film , it ’s a hard , tough , brutal light , but at
times 1 think it really has a place.
There was a translucent quality to the skin of
Christina Ricci (Layla) , it was amazing how in
the same lighting level in a room , she would
look like she had a key light on her, when she
didn ’t. It was almost like you needed to flag her.
If you have dark-skinned actors , it is not
 극르든든든든
~즉三득

Lance Acord

uncommon to do that , but with her, it would 6 The hand-held shot of Billy 8 Layla listens to Billy in the car.
calling his mother
read much more on lilm than it would to the 9 The “ God ’s eye view" from a
eye. It would be a difference 01 about 1/3-1/2 7 Layla watches Jimmy (Ben high tower looking down on
Gazzara) miming to Nelson Billy and Layla in the car
stop which is quite a bi t. She was like a light
Riddle’ s Where fools rush in
bulb. Her character had this kind 01 hopelul
innocence that was really a strong juxtaposition
to what Billy Brown (Vincent Gallo) was about.
And she was sad in a way too , because you
would have to be in a bad place to embrace
the ride that she was being taken on as whole
heartedly as she did. But one 01 our objectives
when lighting her, even in the exteriors , when
you are dealing wit h- this cold winter Buffal。
light , was to put this warm key light on her. It
was embracing this artilicial warm key light that
would bring her up and out 01 the scene and
separate her Irom Billy ’s world . 1was particularly
happy with the scene when she is just listening
to Billy in the car. In the end the way Vincent
cα it , you never see her deliver her lines , it ’s all
her long reaction shots to him talking off
camera.

1I there wasn ’ t a strong concept to a camera

move , we would shoot it locked off. Nothing
was shot conventionally and so it ended up
being very sparse. Each time we used hand-
held in Buffalo '66 , it was as though the camera
was understanding and listening compassion-
ately to what the character was experiencing
When Billy makes the phone call to his mom in
the hallway, 1was trying to be there with him ,
listening to and listening in on the conversation .
He’'s slid way over and the camera takes on its
own being and presence. A lot 01 times hand
held will be used to create a sense 01 action , to
create a sense 01 tension. But lor me , πlY πloti­
vation in Buffalo ’66 was to create a sense 01
being there in the moment with the actor and
breaking through , because lor much 01 that
movie , the camera is locked off and leels
detached lrom the actors

We projected the dailies in this really rundown

movie theatre in a depressed part 01 Buffalo .
The projector was just terrible , it was soft , but
the dailies had this amazing , tough look , as il
they were from another time and another world
Vincent loved them , he was ecstatic. Some 01
the people there couldn ’t believe what they
were seeing , they thought that everything had
been shot out 01 focus. 7

Vincent was really Irustrated by the process 01

i
coverage , being an actor and having a moment
01 spontaneity in your character and to get that
ground down by coverage , wide , establishing ,
~ i
,

medium shots and then close-ups and then ,

“ Do it again and again and again." He really
strived hard to have a concept lor each scene. 鍵훌훌를 U
Paπ 01 this was allowing the actors to just get it
8 9
 Lance Acord

8 Lotte’ s point of view inside 11 Acord operates the

the Malkovich portal.
9 A point o f view sho t of Vi n-
cent Parry (Humphrey Bogart)
in Dark Passage (1 947).
Moviecam SL attached to a
water ski life preserver
12 Craig ’ s pomt 이 view;nside
the M alkovich portal

10 The glossy reality of

Ma l k ovic h’s w。끼 d

11 12

stabilise motion in a selective way as wel l. When
you are walking and you are moving your head
around , you can focus on something in the dis
tance and the mechanics of eyesight w ill sta
bilise that. Originally we were going to use lip
stick cameras and record them to Hi Def,
motion stabilise that selectively, let the image
shift around and πlove ， but pick certain things in
the middle. We would do that in post and then
scan it at 4K and output it to film. However, we
weren ’t getting anywhere with it and it just
seemed too fettered , gimmicky and removed
from the lo-fi charm of Spike ’s work. In the end ,
I think our solution of just using a filter on a wide
lens and instead 'thinking about how we were
going to mount the camera rather than getting
involved in a whole bunch of pα3t-tec h niques
was the right decision. I closely studied the first
ten minutes of the noir fi lm , Oark Passage
(Delmer Daves , 1947) , which shows a very
interesting use of Humphrey Bogart’'s PO v. We
came up with a way to mount the camera and
those are my arms and hands in those scenes
We mounted the camera , took a water ski life

16-17 The breezy self assured
•
fluorescent banks for most of the work and we
Maxine
found that you could shift the drop ceiling ’s
18 Craig framed awkwardly acoustic tiles around easily which was a time-
effective way of working - if you needed a Ii ght
here , you popped out a couple of acoustic tiles ,
and slid it over. By changing the style of egg
crate to diffusion , black , chrome or white , it
would a什ect the quality of the Ii gh t. If you want-
ed a more severe dramatic top sourcy sort of
feel , we would switch them out to black and as
long as they were off camera , they worked . If
you wanted a more banal office feel , we would
just go with diffusion , then utilising practical fix
tures on desk tops and all we would need
would be a little bit of Kino-Flo for fill . Often units
were pretty regularly spaced so you could slide
a unit closer by, put bead board beneath it and
just do bounce like that
The f1 uorescent -lit office is a c1austrophobic ,
compressed , oppressive environment, but when
you go into the daylight-lit office of Maxine
(Catherine Keener) the window is open , there ’S
a breeze coming in blowing her hair, a coolness
to the light and more of a rosiness to her
cheeks. The idea was that when Craig goes in
there , he feels that everything is okay. And that
coolness is reflected in Maxine ’'s character. 1
shot all that with tungsten film with an 81 EF
daylight colour temperature filter, but brought
back half way, half uncorrected. 1had tested
shooting it completely uncorrected , but we were
18
•
Lance Acord
getting too much magenta in the skin tones. 1
was adamant about having wind in that space
which annoyed everyone because it made noise
and was fluttering around the diffusion. Keeping
the window open was also a big pain in the
arse because there was a lot of street sound
coming in. It felt right for the window to be open
in there , because they are never open anywhere
else in the space. You are in this tank , but
there ’'s a way ou t. Maxine is sitting over by her
window and you feel you could even get out-
side and sit on that fire escape. Craig has creat-
ed this illusion of her so strongly in his mind that
has nothing to do with who she really is , it ’'s all
what he’'s projecting onto her.
The shots on Maxine are rock steady, she is
self-assured , detached and says the right things
at the right time , whereas the shots on John
Cusack are hand-held to create an uneasy awk
ward sort of tension. He can never do anything
right and is always making a fool of himself ,
feeling miserable and walking away whinging
because he has said the wrong thing. He is
always awkwardly framed and generally there is
something growing out of his head , whether it is
a plant , lamp , stick , awkward sign or he has an
inordinate amount of headroom. Once Craig got
into Malkovich we wanted to have something
awkward growing out of his head , but we didn ’t
have that many opportunities to do this , such as
sitting in an office , an apartment or on a couch.
19
19 The crude Malkovich portal
entrance with Gino Nix on
standby
120 Lance Acord

This fantastical script could have been taken in

numerous directions , but an obvious one would
have been to have made it into a Disney pr。
duction. Going through this portal could have
been taken into the realms of sci-fi. K.K. Barrett
[production designer]. Spike and 1endlessly dis-
cussed the porta l. It was written in the script as
the membraneous tunnel , which conjured up
almost a bodily part as you entered this vesse l.
At one point, the walls were going to breathe a
little bit and instead of muck and goo there
would be slime. It was a struggle , fighting that
fantastical element of the film and making it feel
as mundane and pedestrian as possible. Purely
from a lighting angle , 1was on board for the
membraneous tunnel as it would have been a
lot easier to back light and it would have
glowed. The alternative turned out to be a chal
lenge to light with limited means for set building
and with a lot of coverage to get. Eventually, it
just ended up being this kind of dirt cave ‘

Spike would always look at the tunnel's interior

and say, “ God , doesn ’ t this look over-lit?" and 1
would say, “ No , it doesn ’t look over-lit , you
21

20 Acord with Moviecam and 22-23 Acord with hand-held can ’t see anything." 1think in lighting there are
Mini-Flos on the Malkovich camera filming Maxine and
p。 이 a l set Lotte’ s surreal experiences in
times you need to be bold and accept that in
the Malkovich portal reality it wouldn ’t be lit this way, but if we are
21 Jonze and Acord in the going to film it, it needs to be lit and this is what
portal tunnel
It ’'s going to look like. We tried to get the walls a
little wet and to skip lights off them at a 45。
angle from each side and we moved the light
with the actors which provided just en Ol밍 h fill to
read their faces. My favourite views of the tunnel
were strongly back-lit , looking out towards the
office with the actors climbing towards the
camera. After they climbed into the portal , the
wind would pick up and it would immediately
blow the door shut behind them and eliminate
motivation for any sort of back light. However,
lt
z 23
Lance Acord
we ended Up creeping some light in , to create a
little bit of separation , as if it was coming in
around the door jamb. It was crude as hell , but
it looked as if the actors were entering into the
base of the film stock itself and they would get
absorbed into the grain at a certain point as
there was so little light on them. At one stage
we went back to re-shoot some elements , we
brought the portal out to an exterior location
and did some crawling shots in profile after
having cut the tunnel in half. This enabled us to
light it a little bit , but for the most part 1was in a
JUπlp suit covered in mud slid along on my belly
hand-holding a camera as the actors crawled
towards me inside the portal
Lance Acord

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1 Joseph Szab。 ’s Nig ht Ow ls 4 Mr Sugden (8rian Glover)
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By from Teena ge, wtiich CQn- re erees the foo tball match in
β
tributed to the film ’s look. Kes (1969)

m2 ‘
2 Fr Casey (Vincent D ’ 。 nofrio)
relerees the St Augusta soccer
5 Francis and Margie Dena
Malone) back-lit by th e sun
game

3 One 01 the hand-held, spon

Director taneous shots 01 Joey (T꺼 er
Long), Francis (Emile Hirsch),
Peter Care Tì m (Kieran Culkin) and Wade
Dake Richardson)

Cinematographer
Lance Acord
Camera operator
Peter Gulla
Steadicam
Kirk Gardner
Focus pullers
Jamie Felz , Alan Aldridge
Gaffer
Mike Adler
Key grip
Mark J. Rainford
Production designer
Gideon Ponte
Peter Care is often thought of as a real visual
stylist, his commercials and music videos are
beautifully shot and really meticulously com-
posed. He wanted Oangerous Lives to have a
beauty to it , to be more stripped down , honest
and less stylised. He approached the idea of the
film ’s period in a subtle way, letting the 70s era
come from the feel of the film as opposed to
putting a bunch of people in ridiculous wigs , bell
bottomed pants and playing 70s music under
every scene. 1 wanted to create that period look
in the way we exposed the fi lm. Rather than
have a super crushed inky black look , we shot it
so the blacks would be opened up.
Peter gave π1e some of Ken Loach ’'s films to
look at well before Altar Boys was even on the
table. In Loach ’'s early films , sometimes the
exposures and negs feel a little thin and the
blacks aren ’t really inky, either because they
were shot on reversal stocks or are now old
prints. Peter staπed out making documentaries
as a sound guy and as a cameraman . [Care
worked as second boom operatα on Looks
and Smiles (Ken Loach , 1982).] He is very influ
enced by Loach ’'s style and feels close to that
honest working-class aesthetic in his approach
to film-making
3 5
1 felta real closeness to Oangerous Lives' sub-
ject matter because it covered the same period
that 1 was in the Sixth Grade in 1976. So 1 had
to keep my mouth shut sometimes , because 1
had such strong opinions about the boys'
clothes , their types of bikes and even the kind
of posters they had in their rooms. Peter was
great , he was all ears because he went to a
British state school which was a very different
world to mine and was much more like the
school in Kes (Ken Loach , 1969). St Augusta ’s
Convent in Oangerous Lives is a Catholic school
in the South and we wanted to try and portray
the main characters as outsiders in their work
ing-class southern environment
Peter found that he couldn ’t trust his young
actors' instincts through the course of shooting.
Sometimes the kids would be spot on and other
times , they would be way off. They had an
understanding of the script , but it might be too
much from their own perspective and not
enough about how the tones of their scenes
were going to relate to the next. It was challeng-
ing for me because we were always working
with this crazy schedule , because in America
you can only have minors on set for two hours
and then they have to be off set for a study
period and then they would return. They are
only allowed to work so late each night , which
meant that you couldn ’t shoot until the sun
came Up during night exteriors. It wasn ’t getting
dark till quite late because it was summer and
we would have to try and finish the day’s shoot-
ing by 2 am
For the most part we used lighting motivated by
practicals and 1 tried to avoid conventional back
lighting and edge lighting in order to take off that
glowy separation of characters in films. Peter
and 1 looked at different photography books for
inspiration. One of them was Towards a Truer
Life by Regan Louie , the Chinese photographer
who had taught me at the San Francisco Aπ
Institute , and Joseph Szab。’'s Almost Grown ,
both which feature pictures of kids in natural
environments. At a certain point Peter and 1
both felt that we were missing some of that live-
liness , some of that youthful abandon in the film
and we spent an afternoon doing hand-held
work on the boys , trying to let the kids sponta-
neously interact with one another.‘ 1 was hand-
held for most of it , doing hand-held lock offs α
just trying to set up certain things we liked
towards the camera. We shot with Panavision
which meant that we could use ND filters

;켈맨ßl맙
10
6 The slickly animated
sequence of The Atomic Trinity.
7 Th e less conventional
Nunzilla animation.
8 Tì m‘ s imaginary cartoons
animated by Todd McFarlane
9 Francis, 끼 m， Wade and Joey
discuss superheroes
10 Tì m and the sedated
cQugar
behind the lenses and so 1 had very little glass in
front of the lens , which was good for flares and
you don ’t get that secondary set of reflections
We used the Millennium XL with Primos , Primo
zooms and settled in on a 40 mm , moved as
wide as a 21 mm and then as long as a
100 mm.
It was a challenge combining live action with
animation. The fear was that if the live action
part of the film looked slick or conventional, it
could cheapen the whole story and the juxtapo-
sition of animation and glossy film would make
the film feel like a sentimental coming of age
story. However, 1 feel that the moments when
the camera is hand-held with the kids , just
hanging out with them , cuts into the animation
successfu lly. Saying this , 1 wish that the anima-
tion could have been less conventional and
could have kept to the style established at the
film ’'s beginning
Most of the daytime exteriors were shot on day
light-balanced Kodak 250 5246 , which has a
similar colour palette to Kodak 500 5245 , but
it ’'s a little bit more saturated and less flat than
Kodak 320T 5277. 5246 has this kind of satura-
tion to it that can be scary for regular scenes
because it can go wacky with skin tones. How-
ever, the vivid colours and lusher greens in
Wilmington worked well for that. 1 was also try-
ing to predict how this colour palette would cut
against animation. I felt that if you were to go
very de-saturated with your colour palette in the
live action and then cut against this incredibly
vibrant animation , you would have this discon-
nection that could pull you out and be distract-
ing. In the script and during the shooting , there
wasn ’ t a really strong emphasis in terms of tran-
sitions from animation to live action , like you see
in animated live action fi lms such as Run Lo/a
Run (Tom Tykwer, 1998) so I was trying to find a
way that the two could balance and comple-
ment each other.
The combination of cougars and the kids was
crazy‘ Tigers are trainable and lions are some
what trainable but cougars are totally untrain-
able. They will hit a mark , but it ’s not the kind
of animal that you can command to sit or lie
down. The producers met with a few different
cat people and we ended up with one biddable
cat that was really old , toothless and a little
ragged . However, we had another cat that
shut down our set for a couple of hours
because it got hold of a toy that it refused t。
paη with. If anyone came within 15 ft of it , it
would let out this blood-curdling scream and
even the handlers wouldn’t go near it. 1 operat-
ed sometimes when we were in with the
cougar, but most of the time we would put the
-
Lance Acord
camera into a position and it would then be
cabled off.
Peter told me that he wanted the nights to
almost look brighter than the days and not fall
into darkness and it was a really difficult for me
to feel comfortable bringing the level of the
nights to daylight levels. We were still working
down around f-2.8 and we were close to being
wide open , but 1 was concerned about the
amount of light that we had to bring into those
scenes. 1 tend to go pretty dark in general and
try to motivate light at night , which is difficult
when you are out in the woods. You need to
decide on what ’s going to motivate your light
and if it ’'s going to be moonlight , you just accept
it. Although you know that it ’'s not real , the audi-
ence takes it for granted that it ’s night because
of the colour and the direction of the lighting
1 had originally wanted to get a lighting platform
such as a Condor for the failed cougar kidnap
ping scene and push light in from a distance.
However, it was towards the end of the filming
and we were down to a relatively limited budget
and instead we rigged Condors with multiple
sources , which proved to be a time effective
way of doing it. We would usually drop down
3-4 6K tungsten Space Lights on the bottom
and then put two broad lights , either Maxis or
Oinos in the bucket. Then along the periphery of
the Condor ’s railing , mount Parcans with narrow
spots. This enabled us to create ambience
beneath one Condor if required. You could als。
edge or hit trees off in the distance and then
you could use the Parcans to pick certain things
ou t. We balanced between the two by flipping
switches and used the one with the Space
Lights for fill and pointed away or flipped off all
the direct harder sources from the broad lights
and the Parcans ‘ We could then use the oppos-
ing Condor and direct all the broad lights and
the Parcans towards the sUbject for the back
light and for an edge.
We made an animatronic cougar that turned out
well in some ways , it could breathe , move its tail
and ear a little bit , but it had to be pho-
tographed really carefully. From certain angles it
worked and from others it looked like a rug. It
would have been very difficult to have done a
slow motion sequence with the animatronic cat ,
so we relied on technique to cover some of its
flaws. We undercranked slightly for the con-
frontation between Tim (Kieran Culkin) and the
male cougar and went hand-held to try and
capture the ex미 osion of violence. We made the
camerawork rough and ragged , almost like
you ’ d see in war photography. There is so much
movement and blur fraπles in the camera and
subject that it ’s hard to focus on anything
Lance Acord

Adaptation .
2003

Director
Spike Jonze
Cinematographer
Lance Acord
Camera operator
Thomas Lohmann
Steadicam
Paul Taylor
Focus puller
Mark Williams
Gaffer
Mike Adler
Key grip
Gino Nix
Production designer
K. K. Barrett

1 Lance Acord wears a
jacket and tie on the Kaufman
house set
When studio execs start showing up on set
dressed liked skateboarders , you know it's time
to change. 80 we decided we were going t。
give our profession the respect it deserved. The
first AD , 8pike and I wore a shirt and tie from
day one to the wrap on Adaptation. ‘ I had to
pick up a couple of extra suits because I really
ripped them up pretty good.
Charlie Kaufman ’'s screenplay was about 140
pages and I think the scene count was close to
300. My approach really boiled down to a simplifi-
cation of how we were going to shoot material,
because more often than not , we were going to
have to come in and out of the scene quite quick-
Iy, so we had to cut to the chase. We knew while
shooting that any sort of elaborate camera move
that established the scene or anything that would
lock the pace of the edit could be problematic ,
because 8pike felt that he would be making the
movie again in th~ edit room. Th ere’'s usually three
movies in each of Charlie Kaufman ’s scrípts .
There ’'s the one written , there ’'s the one you shoot
and there ’s the one that comes out of the edi t.

2 Spike Jonze, Nicolas Cage
(Charlie Kaufman) and Acord
with director’s viewfinde r.
" If you want your film to look
good , wo rk with good
directors. "
‘ when we had him looking at his most unappeal-
A lot of the photographic decisions had to d。
with Spike casting Nic이 as Cage in the roles of
Charlie and Donald Kaufman , The character of
Charlie was a stretch for Nicolas For one ,
, and 1 would then continue a serious discussion
Nicolas is a very fit , pretty tall , good looking guy
and we had to come Up with a visual strategy to
try to fulfil that against-type casting , We left
ample amounts of headroom for him and
always kept him as small in frame as possible
so it feels like the weight of the world is on top
。f hiπ) ，
We tried to belittle him by looking down on him
a lot , to make him feel small and somewhat
pathetic , But we found that this had a thinning
effect on his face and it was hard to sell the
。verweight side of his character, We ended Up
doing a lot of stuff looking Up at him right
beneath his chin which he would bring in to
create a sort of jowly neck , We thought about a
lot of the angles , just in regards to selling him as
this fat, balding character, but a lot of that is in
his head , because he really isn ’t all that fat and
he isn ’t all that bald , We could have gone a lot
further with the make-up , with the hair, but 1
think we ended Up with a good balance
because it says that his character has this kind
of loathing self-image of himself that isn ’t neces-
sarily based on reality
Oftentimes we would put a back light behind
Charlie ’'s hair to show the thinness of it and
ing we felt like we were doing a good job , Nico-
las was funny about that. On the one hand , he
was a good sport , but at a certain point he was
like , “ Alright you guys , come on! " He ’ d stand
Lance Acord
there watching us , shaking his head , thinking ,
alright , enough is enough , 1 can be as self dep-
recating as the next guy but come on ‘ • ‘ Spike
α disagreement over how jowly he looked , his
double chin , his baldness or how looking Up his
nose a little bit was great and made him look
awfu l.
When you have an actor that ’'s over 6 ft tall and
you really want him to be around 5 ft 2 or 5 ft 4 ,
it ’s a real challenge , Often we had to put other
actors up on apple boxes or get Nicolas down
in the shot, by crouching or stooping on his
knees , We wanted Brian Cox (Robe야 McKee) to
be taller than him so he would be this imposing ,
authoritative barrel-chested figure , but in reality
he was quite a bit shorter than Nicolas and we
went to great lengths in his scenes to keep him
up on apple boxes ‘ When he exits the theatre
and Nicolas approaches him and says how his
lecture has changed his life profoundly, we
made an 80 ft long trail of apple boxes on the
ground that took him from inside the theatre ,
around the corner and down the street and kept
them just out of the bottom of frame the whole
way, He walks from a cowboy, up into a medi-
um , into a close-up. They were half quaπer
apple boxes and it was just enough to keep him
a couple of inches taller than Nicolas , We did
that a few times in different instances , A funny
one is his fantasy about the girl (Judy Greer)
who works in the California Pizza Kitchen , When
he ’s in the woods with her and she takes off her
top , she ’s a good 6 inches taller than him and
he ’'s looking up at her and her breasts , Her
breasts are just below his eye level and it ’s pre-
3
3 Charlie's fantasy about 예 Ic e
the waitress Dudy Greer)
Lance Acord
4 Donald Kaufman (Nicolas
Cage) at his Ikea writer’ s
statlon
5 Charlie Kaufman at his
makeshift desk with clip-on
lamp
6 A naked Charlie Kaufman
trÎes to write at night bathed in
cool white light
posterous , If you really look at it , you realise she
must be standing on something , We ’ ve estab
lished this girl earlier, that she ’s not that tall in
relation to the environπlent around her, but in
there , all of a sudden , she ’'s like this 6 ft
Amazon !
We never wanted to have a feel of direct sun
light coming into Charlie ’s room , He ’s holed up
in that place and it was a big decision to leave
all the walls just off white , which you don ’t see
that much in films any more , The quickest solu-
tion to the problem of cutting soft light is to
paint all your backgrounds dark , use mid- to
dark-toned wooden backgrounds or shoot in a
big enough space where your backgrounds just
fall off , When you get into a small room with
white walls and you ’ re trying to work with prac
tically motivated soft light , it ’'s challenging
because the light goes everywhere and you ’ re
faced with these blank walls You can dress
,
them with photographs or bookshelves , but this
house is pretty bleak , The motivation behind
Kaufman ’'s bedroom , living room and the broth-
ers' shared space is that it ’s a house he ’s
bought because his accountlbusiness manager
has told him he needs to invest in a house that
he can write off , He would never have done it
on his own and he has no feeling for it. There ’s
still a futon left over from his college dorm as a
couch in the living room , he ’s typing on a little
chair, he doesn ’ t even really have a desk
There was a bedside lamp , and then there was
a little clip-on lamp on the chair that the type-
writer was on , We had a junky lamp in the
corner which was more something to put in
shot and w hen it was out of shot , we used a
lantern or a small soft source that would push
more light into the room , We were working with
very low lighting levels usually at f-2 .8, on
Kodak 320T 5277 ,
If it was daytime , we slid back the roof of the
set , which was a stretched muslin painted ceil-
ing , to allow space to let some ambient fi ll into
the room from the top , Then we would push
with a Kino-Flo , just the smallest amount of light
leaking through those blinds We would have a
,
little bit of fill if he was at his typewriter from the
practical light bouncing off the page in front of
him If the practicals weren ’t hitting a white
,
piece of paper in front of him , they would give
you a pretty good amount of fi ll and light int。
his eyes , We used a half blue , slightly cool light
that felt like ambient light for a lot of the night
interiors pushing in from the windows and again
we slid the roof back to let a little light come in
over the top , When Charlie stands up naked in
his room , 1had a Maxi Brute with 1/2 CTB
bouncing into bleached muslin , 1didn ’ t want a
f비 1 blue night look , but more of a cool white
Lance Acord
things happen. Aside from size and depth of
field they begin to fall apaπ a little bit , which
gives a softer feel overall. 80 1 like working at
that range , somewhere between a f-2 to a f-2.8 ,
but it does propose big challenges for the focus
puller though.
Th at scene which starts with 8usan and John
Laroche on the phone together and which
reverts to his car crash two years earlier was
very effective. It baffes me how for some peo-
ple , it was the most memorable moment of the
film and it takes place in all of about 2 1/ 2
seconds! 1 think part of its effectiveness is that
it all ran at pretty much real time at 24 fps
There was no hokey angle or repeating action
editorial gag. 1 think audiences are so accus
tomed to seeing wrecks played out in multi-
cameras where the action is repeated two or
three times. Dan Bradley [stunt co-ordinator]
and myself were questioning whether all four
angles could possibly play in real time , but
8pike ’'s instincts were right and even though
some of the shots are only a few frames long
they are still gut wrenchingly effective. It ’'s tactful
because of that , it comes so out of the blue and
it's over and done with before you know quite
what ’'s happened. In that way 1 think it was very
much true to the experience of being in a car
wreck. lt ’s like this split-second that all hell
breaks loose and you ’ re not even quite sure
what happened afterwards. We shuttered down
slightly for the aftermath and had the camera
thrown on its side. 1 was hand-holding it on the
stretcher to give Laroche ’'s point of view of the
accident ’'s aftermath. It ’s a ve마 disturbing shot
due to its content added to which the gurney
was being pushed very quickly and not very
stably across a bumpy road . It created this dis-
orienting , unnerving effect. 8pike was twisting
9-1 1 Laroche’ s moth er (Sandra 13 Susan Orlean trips out in an
Lee Gimpel) and Laroche in the idyllic meadow
real time car crash
14 Photo storyboards with K.K
12 Laroche‘s point of view fro m Barrett and Vincent Landay
the gurn ey after the car crash. standing in for the Kaufman
twins
12
the gurney, 1 was Iying on it and we were on a
150 mm lens using a skinny shutter angle of
45 0 - 90。
The scenes with Charlie and Donald were an
aspect of the film that 8pike and 1 both wanted
to go as unnoticed as possible , so after the first
few minutes of the film , the audience wouldn ’t
even think twice about it. We tried to never get
very flashy w ith it. We would block the scenes
normally with two actors in the scene together
and a lot of those scenes we rehearsed with Nic
on either the stage or at the house location
where he could block out the scene , think
about what each characteJ would do , just as
though he were playing off another actor. 8pike
would stand in for the other actor and they
would work their way through the scenes with- 13
out even thinking about the realities of how we
k‘"'•.‘ ν‘I\<，
were going to shoot them . We would then Vf ::ft “ r ’".
corne up with an overall plan for what the cov
erage would be and make adjustments from
there as we needed to simplify it. The big
decision was who would drive the scene , who
would determine the eyelines. In all circum -
stances , either Charlie or Donald was in the
background plate and then the other actor was
the composite ‘‘ a .
샤
HC “
」
Pretty much all the way through we used a
recording head , just a pan and tilt motiQn con-
trol rig which looks like a remote head that ’s
driven by wheels that you can operate like a
geared head. You shoot however many takes
you feel you need until you have a good one.
The most challenging thing about that kind of ..‘ l.ir.. “‘-
~I<"-"。세 ro“j
motion control work is that decisions need to be 1'<‘’&
made about which takes are going to be used
(tI ••. 이(.‘n‘
right then and there. You pick your take that you
like the most and then you work with the one
14

15 Laroche in Fakahatchee
swamp simulated in the Warn-
er' s backlot, shot hand-held
V에h a Panavision Millennium
XL on Kodak 500T 5279.
16 The Kaufman twins hide in
the swamp.
17-18 The marigold time lapse
effect at the film ’ s close. "We
locked the camera off on Sun-
set Boulevard for a week and
progressed from 1 frame eve깨
5 seconds to 1 frame every 10
minutes using Kodak 2500
5246."
18
Lance Acord
that becomes the motion control move record
ed by the tripod head. When you composite the
other actor in , the head ’s going to do the exact
same move. It ’s a very tíme consumíng process
because you have your actor coming on doing
one character and leaving , dressing , making
slight make-up changes and coming back on
doing the other character, so we kept that
process relatively simple. We didn ’t get that
tricky with doing hand-off and having the actors
touching each other and it didn ’t feel necessary.
A lot of them were just simple wipes where
you ’ d have one actor on one side of the frame
and one on the other. By doing it double expo-
sure on the monitor you can tell for the most
part if your eyelines were working or not and 1
felt like we were pretty close with this
The final reconci liation scene between Charlie
and Donald was a few days work that takes
place in a few minutes of screen time and
demands scheduling. You 're constantly
controlling the light over a huge exterior area
and I was mainly trying to get rid of all the direct
sunlight. It would have been great if we were
shooting in England in the summertin미e ， but it
was summer in LA and every single day was
perfectly clear, so we had this big construction
crane which had a cable dropped down with a
huge 60 x 60 付 Grifflon frame built over the
centre of our shooting area. This was an
。 paque material that would cut the light off the
scene. Then we had tag lines out from all four
corners of that , so we could manoeuvre it and
angle it to cut as much sun as possible. In
addition to that , we had several smaller Condor
cranes , 70-85 ft up in the air with 20 x 20 ft
frames , again to try to block and shade the
area that we were shooting. That whole scene
is supposed to happen in that moment right
before the sun comes up over the horizon
We had a reasonable tree cover that gave us
dappled light , but there were times in the day
had we not been setting the light , you would
have been in direct sunligh t. We shot that
stuff uncorrected , but it was very blue and
brought it back half way to being corrected
normally and we underexposed it by about 2
stops. There are moments of direct sunlight
cutting through the trees in the background
that really bug me. I guess you could interpret
it that it ’s just cracked the horizon and it ’s get-
ting in to some areas and not others , making
its way through the trees but not hitting the
ground yet. If I had to do that all over again ,
I would have been a little bit harder on my
grips and 1would have made them come up
with an approach and a technique that involved
using existing trees as a support for an over
head canopy with cables or using the trees to
tie off to.
Lance Acord
Lost in Translation
2003
Director
Sofia Coppola
Cinematographer
camera operator
Lance Acord
Focus puller
Mark Williams
Gaffer
Juji Wada
Key grip
Satoshi Tysuki
Production designers
Anne Ross
K. K. Barrett
Some of the Japanese electricians thought that
I was completely out of my mind , that 1didn ’t
know what 1was doing and that there wasn ’t
going to be an image on the negative at all
They were really worried for Sofia because , in
their opinion , there wasn't enough ligh t. 1didn ’t
find this out until after we were about a week in!
But Wada [gaffe끼 had faith , he was interested in
our different approach . I think the normal
approach to lighting in Japan tends to be very
over lit and very filled in , especially with the guys
that were from a television or music video
background.
We were moving incredibly fast on Lost in
Trans/ation and the whole film was shot in less
than thirty days. The total budget ended up
being under $5 million. The film was a success-
f미 attempt at working in a way that 1’ve always
known you could , but have never been able t。
in terms of movie making. This is having a ve마
minimal crew and lighting and keeping an eye
for available Ii ght and practical light and just
slightly supplementing it when necessary. It ’s an
area of film-making that ’'s been explored more in
DV production in films such as The Celebration/
Festen (Thomas \/interberg , 1998) or The
Anniversary Paπ'y (Alan Cumming/Jennifer
Jason Leigh , 2001) , which take for granted that
they are not going to look all that great , but they
are more of an actor ’s movie. 1’ve always felt like
you can work that way, but does it have to look
like hell? If you work that way, shoot on film and
just manipulate things subtly, couldn ’t it still be
beautiful? Some of my favourite photographers
work in that manner and why is it that these
photographers that just document what ’'s there
can produce these beautiful images , but every
time a narrative film is done that way, except for
the odd incredible looking documentary, they 2
don ’t really look that good? 1’ve attempted to 1 Acord photographing Scar-
work like this , but it ’s much more difficult to do it lett Johansson (Charlotte) with
his Leica " right before shoot
within the more conventional Hollywood system ‘ ing"
ßefore you know it , you have this scale of pro
2 Bob (Bill Murray) interviewed
duction around you that just by its sheer size ,
。n the Japanese TV show
almost disables that approach to working. You under high key lighting
end up using all these lights , gear and built
locations and sets on stage. This can create
great results , but 1’ve always wanted to try
working that other way and I feel that 1finally got
to do it on this project
In all my experiences of shooting , I’ d say this
was probably the most intimate. Often there
were very few of us on set and it was a reduced
size Crew. I brought my camera assistant , I\l1 ark

15
14 Charlotte under 1he Tokyo
subway fluorescent lighting
15 Bob‘S arrival in neon-lit
Tokyo
16- 17 Bob isolated in his
hotel room
- 흩즐룬걷즐-홉
Lance Acord
integrated into the actual video games and the
dominant lighting in the room. We were at a
f-2.8 1/ 2 or f-4 shooting on Kodak 320T 5277 .
There was quite a bit of light coming in from
outside , so 1 think 1 went ahead and used an 85
to bring it back to more of a neutral colour
temperature
It would have been easy to play off the grand-
ness of the Tokyo Hyatt and have beautif비
camera moves to establish the interiors or try to
accentuate the qualities of that location , but we
16
steered away from that. We tried to present
Bob Harris (Bill Murray) in this stark , very Ls이 at ­
ed way, which would communicate his loneli-
ness. On his arrival at Tokyo , he ’s making his
way through this city of neon lights. He ’s
whisked into the hotel and there ’'s all these
people meeting him , handing him presents. He
goes to his room and then we just cut to him
there in his kiπlono ， alone on his bed , not really
knowing what to do. We used a lot of lock-off
and generally normallensing. Our range of
lenses ran between 27 mm to 50 mm , so a lot
17
 -
34 Lance Acord

18-19 Charlotte tries to 21 Bob touches Charlotte's

engage with a new culture foo t. Buffal。 ’ 66 wasn’ t the
11

while visiting the Buddhist tem-
ples in Kyoto.
20 Charlotte and Bob talk in
his hotel room.
first film to use that overhead
angle looking down on tw。
people in bed and Lost in
Translation won 't be the last
time it i5 used. "

of the film was shot on a 35 mm . This was the

same sort pf field of view and perspective that
you would get with a point and shoot camera.

Bill Murray’s hotel room window was like shoot-

ing into a 4 ft tall, 22 ft long mirror, the entire
night. It was a piece of glass with black behind
it. Any other lights you turned on in the room , or
any movement , or movement of the camera ,
would reflect in that mirror. You ’ re looking just
dead straight into it for some of the shots. The
glass was right up to the ceiling so that to
come in over the top with an elaborate top light
rig would have been next to impossible and
flood top lighting would have been completely
wrong for the feel of that interior. We motivated
all U)e light that is coming from low lamps and
augmented these practicals slightly for the
wider shots and moved them around the room
80 if you saw a light reflected in the window,
you wouldn ’ t notice that it had moved much.
Fortunately all the units are these large tall
Noguchi paper lamps that create a really soft
beautif미 source of light. We also brought in
bedside lamps which were a variation on a
paper lantern , just a square box of stretched
parchment with a bulb behind it that we could
switch ou t. The ambient night light that fell into
the rooms from outside was challenging
because we were on something like the 7 0th
floor. We used small sources of light in the
room , put as far away from the subject as pos
sible and then a large amount of cutting , to try
to narrow it down. Most of the time it was a
small 2 ft 2 bank or a 2 ft 4 bank Kino-Flo and
we worked close to 2 stops underexposed on
the neg at a very w ide open f-stop.

끼i'aditionally，for a Japanese person , light is at

its most beautiful when you ’ re in the centre of
the house and it ’'s been allowed to make its
way under eaves , through rooms , through
screens and then fall softy into the middle. Simi
larly there was a lot of thought put into how that
hotel was lit and it was incredible how lirtle light
was used. It ’'s very dark walking around there in
the daytime or night time. Working with the
21
톰!I!!!!!!'
22 Bob towers over Japanese 24 "The bar was where Bob’ S
men in the hotellift. character lived in the movie “
23 Bo b looks at his maudlin 25 Cha 끼。 tte and Bob talk in
reflection in the hotel lift. the hotel bar
경 25
existing top light , we ended Up sliding small
pieces of diffusion under the bulb to spread it
out a little bit more , so that it would have a
slightly softer quality and work in a larger area
and in so doing we were able to use a lot of the
available light. Sometimes we changed the
bulbs , but more often than not , we diffused the
light from the bulbs that were there. We shot
the corridor scenes on Kodak 500T 5263 at f-2
to f-2 1/2
We had a very strange schedule in that most of
our access to the bar, lobby and a lot of the
different areas of the hote\ was after 1 am and
then other day scene areas were before 8 am ,
so we were working this brutal shift in which we
started work at around 1 am and shot through
the night and then wrapped up at around 10 or
11 am . You ’ re fine through the night , you begin
to get a bit tired , but when dawn ro /l s around
the last thing you rea /l y feel like doing is going in
and shooting some day scenes , but you just put
on your sunglasses and grin and bear it. We
didn ’ t find out for days before shooting what
and when we had access to certain areas in the
hotel and so it almost became an additional
Lance Acord
character in the fi\m. Sometimes we weren ’t
a /l owed into the bar area until after 2 am and as
we were shooting at the end of summer, first
light would be begin to appear in the sky at
around 5 aπ1. The bar's perimeter was a /l
windows and as soon as the sun crept Up , it
would begin to affect the ambience and the
colour temperature in the room. We had quite a
few pages of dialogue to cover, which were cru-
cial scenes and so there was a lot of thinking on
your fee t. We used the long row of six practical
lamps that were integrated into the table to
motivate any additional lighting in terms of its
136 Lance Acord

quality and direction. Then we supplemented it

with lanterns that were at the same height as
well as at the same colour temperature.

The final scene was a really difficult shooting

scenario. Sofia and I talked about the scene
and what it was we wanted to do with it. I’d
diagram out an approach to the coverage for it
and figure out the number of shots and then we
would discuss that. I’ d break it down in the
order that the shots would come in the scene ,
figuring out which camera position would work
27 28
with different lenses or set-ups. The scene
would start with a long lens POV of Scarlett ’s
head bobbing among the crowd from where
the car pulls up and then using that same
 -
Lance Acord

26 Bob takes a swing “ It ’ 29 Plan 01 set-ups outside the

。 ne 01 the lew times where bar lrom which Bob, Charlotte
sιε~Ë $"7 'ß:~. ιυJJ C 싸4S E­ you really see Bob outside in and Japanese friends flee
the world and it decompresses

‘3τ(Z~< ð~‘。ε ~ .a..~

his character lor a moment. It
was a white blown-out hazy
sky and there was barely any
。 I Mount Fuji visible. 1 Iramed
it so that Bill was just into the
~þ<~ area 01 the N9 Grad at the tree
line edge."
+
()Cì~~ 27-28 Bob , Charlone and
Charlie Brown (Fumihiro
Hayashi) in the Shibuya
30 Charlotte in karaoke bar
corridor with zebra striping “ It
reminded me 01 the Qew wave
Ilash punk sensibility 01 Chris’-
ian F (1981 )."
31 Bob in Tokyo street
32 Charlotte in the linal
larewell scene

karaoke bar, lilmed on a

50 mm lens using Kodak 500T
5263 stock

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29 32

camera position on a different lens, you’ d have
Bill Murray in the shot walking towards 8carlett
Then there ’ d be a close-up of Bill where the
window would go down. We also shot him get-
ting back in the car, so it worked for those two
ends of it and then we did one tracking shot
from a Western Dolly that mpved with them
through the crowd. Down at the other end of
the street , looking back towards Bill Murray’s
car, near the area where he stops her and they
kiss , we had a very long telephoto lens of him
making his way through -the crowd We pulled ‘ focus with her as she left beneath the bottom of
%
focus with him and there was more of a medi
um wide shot of 8carlett in the bottom of frame.
We had the dolly shot that tracked with him and
also had a corresponding shot where the cam-
era would be swung around looking at 8carlett ,
his POV of her walking and that camera lens is
moving' through the crowd So those two cut
together and complement one other, but then
come back to the camera position where they
kiss. He catches Up with her and stops her,
which becomes the wide master for the entire
scene where they’ re kissing. Within that scene
we had close-ups of Bill over 8carlett ’'s shoulder,
and of 8carlett over Bill ’s shoulder and then the
wide shot shows they’ ve separated and he ’s left
and she walks towards camera. We followed
the frame and then in that same telephoto set-
up of him coming towards her we also had him
walking away and looking back towards her. 80
each shot in the scene breaks down into a rela-
tively limited number of camera positions.
b Jean-Yves Escoffier
any problems. He would speak with his produc
ers , but he would hardly speak to the crew and
he elected me as his intermediary spokesman.
The crew didn ’ t like him all the time , but they
respected him because he \Nas never discourte-
ous , although he would be very introveηed ，
which 1think was a way of protecting himself
and staying focused. 1could describe the movie
shot-by-shot before the production . We did
blind tests to find out what would be the best
black and white film stock and decided on IIford
HP 5 400 and used an Arriflex BL4. Everything
was precisely mapped out , even allowing for the
unexpected. 1remember we could not get per-
mission to shoot a scene in a particular location ,
which had an elevator. 80 1said , “ If you wan t,
we can go to the building with a camera and
we will steal it." 80 we went into the building
6 Alex glides on the dolly on
the PonιNeuf
7 La Belle (J osette Day) glides
’
into the Beast’ s hall in La 8el e
et la b옹te (1946)
7
and even though Carax usually shoots very
slowly, we had the scene in twenty-five minutes
1invented my own lighting for Boy Meets Girl
and 1always believe that one should design
。 ne ’'s own lights. 1didn't use Kino-Flos , because
they didn ’ t exist at the time , but 1was using
unspherical long shapes of light. 1created a ring
ligh t, which was suited to Denis Lavant ’'s anato-
my. llit his deep , recessed eyes from below or
from one side and 1made sure that 1could put
a little light in his eyes when he walks on the
Pont-Neuf at night. It is simple to get lights in
actors' eyes by working from below. Every
student should leam that if you want to see
someone ’s eyes in the dark , you have to find
the right place and put a very low intensity light
below that person which will reflec t. You will see
10
8-1 0 Alex running to Mireille’s
apartment , filmed at a low
camera speed
 빼
44 Jean-Yves Escoffier
뻐뼈

md

m
태

mm i

Director
Leos Carax
Cinematographer
camera operator
Jean-Yves Escoffier
Focus puller
Myriam Touze
Gaffer
l\Aichel Lefrancois
A야 directors
l\Aichel Vandestien
Thomas Peckre
Jack Dubus

Leos Carax has his own way of directing . He
likes to put music on the set and nobody
speaks , which is quite unlike the usual social
and noisy atmosphere of French sets. He
rehearses the actors and does one take and
then another one. This can go on for 50 takes
and as the crew is so small, this process costs
less than a normal film . Although you might lose
the flash of innocence of the fi rst take , which
you always have , it then goes somewhere else.
It creates something and exhausts the fakery.
짧체-
as its schedule increased from ten to thirty
weeks. That was the staπ of a big legend that 1
was slow, which was not good for me. 1e미。y
to shoot in a second [snaps fingers] or do one
shot a day. If you push a director outside his
。wn speed , then you ’ re going to have a prob-
lem ‘ Leos would accept some pushing , but
once he realised that you were doing something
wrong , he would just ignore it. 80 , there was
no poin t. One of the main challenges was man-
aging a crew who were sometimes doing very

1 Alex (Denis Lavant) in The relationship between Leos and Michel little day-by-day. Leos really hated the idea of
harlequin motif jacket
-

Piccoli (Marc) was very tense on Mauvais Sang using colour and so after doing blind tests , we
2 Marc (Michel Piccoli) with Leos pushed Michel and wanted him to have elected to use Fujicolor [Fuji F 500T, underex-
ν촬-‘

dark-coloured contact lenses

black pupils and made him wear coloured con-
tact lenses , which he hated. Michel thought that
Leos was very reserved and although they
communicated on set , he would not socialise
with him. 1was the go-between them and as a
result 1\l1 ichel and 1became good friends.
­훌%
posed] and selected old Kowa lenses , some-
times going as long as 75 mm. These were
less sharp and more suited to filming the skin
of Denis Lavant (Alex) ‘ Having done extensive
fine-grain-process blue and red colour tests ,
we decided to under-process the film , which
avoided making the actors ’ skins look to。

Leos , Alain Dahan [producer] and 1spent many greasy. Initially we wanted to use the Technicol
months prepping the film and we got over- 。 r process , but the machines were in China and
worked and burdened with financial concerns we couldn ’ t use the m. As most of the set was
 Jean-Yves Escoffiel

3 Leonard。’s drawing and black and white , we had to pick out a few
notes (Ms. A, Fo l. 1 Recto) on
the effect 01 the sun passing
colours very carefully and as five different
through a window lighting units on the set might all have different
colours , I had to ensure that all the light had
4 Lighting diagram lor the main
street set the same colour balance. At first , Leos wanted
to use the Mitchell BNCR as he liked the weight
5 Screenplay annotated by
of it and thought its size would have an
EscoHie r.
influence on the film. But it was impractical t。
。 perate ， we ended Up using it a few times for
fades to black and used a Moviecam for the
majority of the shoo t. [Escoffier also did
extensive tests on in-camera colour fades.]
Again , 1 designed unique lights using the
window as my unit of light. 80 1 designed
windows or doors with lights inside and 1
played with different sized rectangular units
1 took that principle from Leonardo da Vinci ,
who wrote about lighting a lot and who said
that unless you take candlelight , the unit of
light is a window.

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6 ’싸k<{;l싸카A
Quinze mètres plus loin , petit attroupement autour d ’ ALEX.
5
Jean-Yves Escoffier
6 Th e Paris Metro tra in painted
red for the opening Pasteur
scene.
8
7 An na Duliette Binoche)
running in the film’ s c1 0sing
shot
8 Alex runs away his pain along
the 600 ft street
There are always 'running ’ scenes in Leos ’
films. For one scene , we had to run fast on
cobblestones and unfortunately we couldn ’t
afford a 8teadicam. Although running scenes
are rarely shot in films due to not being able to
use normal equipment and actors getting
exhausted very quickly, Denis Lavant and Juli-
ette Binoche (Anna) would run for 10 takes at a
time , so eventually 1designed a doliy with spe-
cial wheels , suspension and steering. 1had it
painted red like a Ferrari and had separate
equipment designed with lights , which could
move with it concurrently. Once we had careful-
ly choreographed and rehearsed the scene in
which Alex runs down the street to Bowie ’s
Modern Love , we picked the 600 ft street
location. 1chose not to dress the entire street
as 1wanted to add a strobe effect. 1also added
stripes to the background to create a feeling of
speed and as we couldn ’t afford to light the
whole length of the street we moved the tung-
sten light ahead of him. 1had a car-to-car
camera vehicle , on which 1attached two cam-
eras and 1had another truck with a side-angled
tungsten light on an attached platform , which
preceded him and provided depth. For Juliette ’s
running scene at the end of the film , 1started
the camera at 24 fps and 1very slowly went to
4 fps in the camera. 1wish 1could have shot
longer at 4 fps , but we were at the end of the
tarmac! We were lucky with the sky on that day.
lt was a beautiful light at that moment and we
also picked out her black and white sweater
speciall y.
The location dictated what we could do in the
。 pening Pasteur Metro scene in which Alex ’s
father is killed. Leos wanted the trains to be red
which was a problem as the existing trains were
brown or green. After much discussion with
Michel \/andestien [aπ director]. we decided to

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10
ß 끼
9, 12 Storyboards drawn and
annotated by Escoffie r.
10 Escoffier sketch attached t。
his Mauvais Sang screenplay.
Jean-Yves Escoffier
l
Y짧gRFJ ￡
서사획협 put a type of silicone on the train , which
enabled the art department to paint it red and
remove it without having to repaint it , which
would have been prohibitively costly. 1had six
￥→~ 져r \
, 4K HMls out of shot on the opposite tracks that
」‘
would not reflect on the train. 1nstead , they
μ
샤양ζ
would just bounce off the ceiling and this took
3]t
,
care of the whole station . AII the billboards were
、
painted in blue and red and made to look as if
they were ripped ‘ We used more Parisian trans-
port for the scene where Alex sees Anna for the
@ first time on a bus. As the lights in the bus went
1<.와“μ、a
R 여k‘ R‘5 。ff ， my instinct was to light from outside , so 1
’‘_.‘ ι“.‘ 서‘­
@‘ t.‘-k J “““,{.‘’- designed a vehicle , which incorporated a truck
ι"t，. ì-' ι ←‘ι
ιμιι‘‘ι
fv>'“‘ l，~‘ι ‘ι
with a rear platform on which 1placed a genera-
tor with duplicate city lights. 1then matched the
11 Filming the arrival of Anna , r“.~ relevant street lighting and if it was mercury, we
Marc and the wounded Alex at
the aerodrome used HMls with dimmable stage shutters
13 Alex sees Anna for the first @ In order to prepare for the parachuting scene ,
tÎme on the bus ~ 꾀11-"
Denis , Leos and 1decided to do a test jump
“}’‘
tþ. UO However, Juliette was not allowed to come ,
싸Y because her first jump had to be for the cam
era. 1can remember that at first n끼Y body
refused to go , then 1had no idea what was
12 happening , the parachute opened automatically
and it was pure calm. It ’'s beyond heavenlι you
don ’t feel you are falling , you are alone , you can
rotate and you can look at the whole world and
this experience prompted me to ask when we
were trying to storyboard the scene , “ Why don ’t
we do that shot with the two of them embrac-
ing and we could rotate with them and then we
could see all the ropes? " It ’'s a fantastic
moment , he ’'s in love with her and at least now
13
Jean-Yves Escoffier
14 Anna ’ s parachute jump,
lI anked by Marc and Alex
15 Production shot 01 Denis
Lavant and Juliette Binoche
suspended from balloon
basket
16 Alex embraces Anna
15
he can hug her. She has fainted and they are
alone in the world. In order to achieve this
effect , 1 threw the 35 mm Caméfex camera
housed in a metallic cage on a double strap ,
reinforced with metal wire , outside the plane to
get her POV when she ’'s so scared. We avoided
the 400 ft magazine jamming and we had four
minutes of 35 mm coverage which was plenty
for this shot and nobody got hurt
We had to shoot Denis and Juliette ’s parachute
jump in a w ide shot as our helicopter’'s vibration
system was such that we could not go in with a
long lens because the camera shakes to。
much ‘ It ’s also very tricky to film when your legs
are outside the helicopter and as a resu lt your
body is instinctively scared. You know the
actors are there and you want to see them , so
16
you start wide. The helicopter then flies towards
the actors and you recognise their faces , but
you can only approach so much , because the
helicopter was really there and 1 was scared of
its propeller. We also had to ensure the safety of
the actor’'s parachute landing point , so we
rehearsed for two days , where you start , how
long it takes , how close you can go. The plane
was travelling at 300 mph and as they jumped
they broke the momentum. Eventually we did it
in one take , 1 did however have a huge 10m
hole dug under the stationary plane with its
engine running for the moment when Denis
goes down the strap with Juliette shaking
behind him. 1 also had a metal ring rigged via a
rope to a specially constructed hot air balloon
basket with a hole inside of it to get the shot
from above the parachute. We found that if
 Jean-Yves Escoffier

17 Leos Carax and Escoffier
before their first parachute
jump.
18 An example of Escoffier’
detailed shot breakdown.
17
19 Parachute jump story-
boards “ The scene had to be
entirely storyboarded
20 Screenplay title page
annotated by Escoffier
A) Caméra dan ‘ autre ballon. ou hélic。 there was a wind we couldn ’ t do it and so we
“
waited for four or five days , getting to the site at
crack of dawn. When the conditions were
suitable , a first balloon went Up , followed by
the crew and then the cast. When the shot
was completed successfully, we removed the
camera and roped the cast Up as we didn ’t
BI Caméra da.ns. 1a nacelle 5an ‘ plancher . want to land on them! Everybody clambered
into the higher basket , we released the lower
basket and landed the best we could. Without
Alain Dahan [producer], we could never have
done this scene. The three of us [Carax , Dahan
and Escoffier) were invincible , nobody would tell
us anything. Nothing was unachievable and
Leos and 1miss it so deeply today, such a
C) Plan rapproché d ’‘ lex qui regarde Anna relationship , such a triumvirate. You ’ 11 never be
able to do that in the States!
19

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18

20
..
Jean-Yves Escoffier
Les Amants du Pont-Neuf
Lovers on the Pont -Neuf
1991
Director
Leos Carax
Cinematographer
camera operator
Jean-Yves Escoffier
Focus pullers
Stéphane Fontaine
Christian Fournie
Steadicam
Marc Koninckx
Gaffer
Christian Magis
Production designer
Michel Vandestien
1 The drunken dreams 01
Michèle. Duliette 8inoche) and
Alex (Denis Lavant) , sleeping
rough on an oversized
Pont.Neul pavement
2, 4-5 Escollier operating the
camera for Alex’ 5 dawn
washing sho t. " My body lelt
lear because 1 thought about
the crane lalling . It was on top
。 1 scaffolding , which we
tracked on."
3 Some 01 the Meltric
Connectors used on the film
4 5
2 3
On and off , for four years of my life. 1 did not do
anything else but work on Les Amants du Pont-
Neuf. 1 started working on the film in February
1987 and the film wrapped in February 1990.
The shoot took place over three different peri
ods , the first was for fifteen weeks , then a
second one of eight weeks and the last one
was about thirty weeks. Ouring the course of
the shoot , crew members got divorced and in
some cases got engaged to and married fellow
members and had babies! Ouring all the delays ,
the set suffered a lot , had to be reshaped and
we had to keep people on the Pont-Neuf loca-
tion , who were selling the set ’'s raw materials
such as copper, to supplement their non-exis-
tent incomes.
Originally we were going to shoot Les Amants
du Pont-Neuf on the real Pont-Neuf for three
weeks. It was a difficult permit to negotiate and
took a lot of politicking and organising to get
because all the buses had to be diverted. We
had a special crew in charge of organising the
set ’s construction , together with its hour-by-
hour planning. The night scenes were meant to
be shot on a separate set where we could play
tricks with perspective. Everything was ready, all
the contracts were signed and the week before
shooting , Oenis Lavant (Alex) cut a ligament in
his wrist when fixing his shoelace with a knife
He had to get micro surgery right away as a
result of which , his wrist was in a cast for 8-11
weeks , so we lost the permi t. The film ’'s insurers
then came up with the idea of changing the
night set into a day set , but the build was done
very quickly and was always wrong . By this
stage , the first production company was in
financial problems , but the insurance c。πlpany
wanted us keep working , so we kept shooting
what we could. However, the set started to go
。ver budget , the production ran out of cash and
everything stopped after twenty weeks
The budget of the original 'night ’ set build was
about 1.5 million francs , but in the end it
increased to 11 million francs. Leos and 1 talked
about shooting Les Amants on 8uper 8 , but no
insurance company was prepared to insure a
8uper 8 neg because it ’'s too fragile. 80 then the
whole production became a full contradiction ,
we were making a film about homeless poor
people , the budget was increasing and we were
not prepared to lose the fil m. Added to which ,
Leos did not want to communicate during the

6 Michèle lit by fire
7 Alex and fellow homeless
travel to Nanterre
8 Alex the fire-eater
shoot. People thought we were ruthless with
moneι but nobody gave us money. First we
financed the movie which is a big job in itself
and then we went bankrupt. We started again
and went bankrupt once more and still man-
aged to get back on our feet , which shows you
something
It took six months to shoot the opening Nan-
terre hospital scenes. We got to know its staff
and became friends with the doctor wh。
opened his doors to us. However, the adminis
tration didn ’t want anybody to shoot in there
because they were afraid that it would land
them in trouble. They were legitimately con-
cerned about these poor people ’'s rights , s。
they wanted to make sure of what we were
doing. After a lot of diplomacy and meetings ,
they finally agreed to let us shoot there with a
few conditions. At first we tried shooting on
Super 16 using an Aaton and combined this
with an Aaton 35. Nothing was staged in the
undressing and waiting scenes , except for Alex
in the communal showers. 1 shot the bus
scenes hand-held and found that 1 could use
the Aaton for hours and that my experience
working with the great documentary camera-
man Jimmy Glasberg , on Shoah (Claude
Lanzmann , 1985) helped me in my honest
approach . The majority of the action in the bus
pick-up sequence collection was not orchestrat
ed and by that time , Oenis was ve마 far gone. 1
used Fuji F 500T throughout these scenes and
in one of the buses , 1 increased the lighting by
•
Jean-Yves Escoffier
changing and adding more bulbs for the driver
and the guysaround. 1 also changed the lighting
outside the shelters for the homeless a month
or two before the shoot , so it became the norm
for them every day, ensuring that it wouldn ’t
‘
affect their behaviour.
Oenis had no experience of fire-eating when we
started prep , but by the time we came to shoot-
ing his character ’s display, he was more excel-
lent than his teacher. We were planning to
shoot that scene outside St Eustache and we
tried several times. We realised that a fire-eater
can ’t work if it is windy. If there is a steady wind ,
he is okay, but if there are circling winds , he
puts himself in great danger. 80 we decided to
shoot inside , 1 created perspective with out-of-
52 Jean-Yves Escoffier

9 Diagram of Pont-Neuf 10 Black and white polaroid of

lampadaire (streetlight) Pont-Neu f at night

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10

11

focus lights in the background , designed over- of his achievement , which looked beautiful in 11 이 ew camera image of
Pont-Neuf at night
head sodium lighting fixtures which matched the the film
Paris street lights and I had a sodium light on
Oenis as we tracked and went hand-held on I studied the actual Pont-Neuf and took a view
him. When he spat flames at the camera , I had camera and photographed the whole area
a protection glass over me and the camera myself when preparing for the night-time
Michèle μulieηe Binoche) was meant to be scenes. If you have the bridge built to scale , you
moved and afraid of the spectacle because her have an area with a fixed perspective , but this
character is losing her sight and I wanted t。 increases towards a false perspective at the
light her with fire. If you want to get the details horizon-end of the bridge. I also realised that
of f1 ame at night , it ’s very difficult because you night in a city is the colour of the sky, because
need to use the white of the flame to give the city lights the sky, which glows with this
you the stop. I think I was on f-2- f-2.8. When combination of colours. This meant that I had t。
Leos said , “ Cut! " I continued to film and Juliette have this glowing silhouetted line of buildings on
laughed and giggled because she was proud the horizon and this became my main obses-
 Jean-Yves Escoffil

12 A night-time tracking shot 14 Sun orientation chart usec

。n the Pont-Neuf se t. by Escoffier on the Pont-Neu
set
13 lighting one of the Paris
Metro scenes. 15 Samaritaine building set
plan

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14

12 15

sion , I wanted to light the sky and everybody
said I was cr값y! I tried many things and il the
sky is wet it ’s easι il it ’s loggy it takes nothing
as it glows when back-li t. But the Camargue is
a windy place , so I had to have scaffold ing built ,
on which I placed 100 customised Dino lights
on each side that would give me my sky. These
lights were redesigned using a device invented
by the Czechoslovakian lighting director, Svobo-
da. He had this idea 01 using low voltage bulbs
with two mirrors and a round crate. Although
they have a low voltage , they have a great deal
01 power, but use very little electricity. By this
stage ,there were money problems again and
although Michel Vandestien [production design-
er] agreed to implement his background sketch-
es , I was worried that building the cut -outs was
not one 01 his majα concems , so I decided to
do this mysell one day. I had a crew 01 si자y
guys and we assembled the cut -outs 01 the
city ’s horizon , the Eiffel Tower and then I put
lights in them.
I was very proud 01 my lighting 01 the Samari-
taine building because it is a very deep building
and I had that depth recreated on about 5 1/ 2
ft . I looked at the picture 01 the bridge , caπ1e up
w ith my perspectival design and then I placed
bluish sodium and mercury lighting w here nec-
essary. Most 01 the lights placed inside the
Samaritaine building were Iluorescent , because
you have to see the shape 01 them and I posi-
tioned them in line with the depth 01 the rool
The building ’'s perspective goes Irom right to I잉
depending on where its local point is. So you
don ’t put the fluorescents Ilat parallel , you put
a gap extending between them that creates
perspective.
When rebuilding the Pont-Neul set lor the linal
time , w e picked a warm area near Montpellier
because we knew it would be a winter shoot.
The lirst thing I did was to re-orientate the night
set lor the sun in the plans. The terrain was Ilat ,
and our bridge was ten percent 01 the size 01
.......

Jean-Yves Escoffier

16 Building the Pont-Neul set 18-20 Michèle water skiing

in the Camargue. surrounded by Bastille Day
celebration fireworks
17 One 01 the Pont.Neuf set
lighting plans. 21 Water skiing lighting
diagram with casca de details

18
the real Pont-Neuf. We also picked the Camar-
gue as a location because it is filled with muddy
lakes and swamps , which would provide suit-
able terrain for the banks and the huge amount
of water necessary for the river. 1found that you
can ’t light water as it only reflects. If you want a
nice reflection , you have to have boats in
charge of agitating the water. Even in Paris , 1
used this technique in the opening shot , when
you go through the tunnel , from Place de la
Concorde and then you go on the bank , see
the river and then you go back to Chatelet.
Leos shot that scene three times because he
was not completely happy with the acting. The
first time we shot late , because the city had to
be empty and unfortunately the river was like a
mirror. The following times we shot it , 1had two
boats manned with crew with walkie-talkies
because 1did not want the river to be still.
Before we arrived they would spin the boats
r .......찍영~ and this created a nice ripple effect. The water
16 gν """강I..l
skiing scene was shot in Oecember after Leos
refused to shoot our first attempt. We eventually
had to engineer a whole waterfall which
involved tons of water per second. We
designed and rehearsed the shot and once the
scene was set alight , we couldn ’t stop. The first
20 take when Juliette falls was what you see at the
"-0후 ð껴￡써‘ ’ :1 뻐&、J. "n.\ 셰」ιfF@셔.νιb‘언~. end of the film. She did it with two takes left
and we had three cameras on the boat with
ι‘ι‘ !- ↓」 ι쑤A • μ':"'b l---샤J one in front and one on the side. 1was scared
when Juliette glided close to the wall and fel l.

l뿔i닝Q으싼t개AI안t%jE%~ P딘느찮
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And then 1thought , well if she falls , Oenis has to
‘"__ > “R ’ f be a gentleman and fall too!
‘
• { J / ...___ULJ ‘ /'L--"",,- _ _ -1- 1__ __ ι>v ‘

When it came to the shoot near Montpellier, 1

had three electricians and a PA on set because
1knew we couldn ’t afford a big crew and we
써 h would be spending many weeks on these
0 U scenes. It was very contradictory because we
had fifteen people on that big set and we were
shooting in the middle of nowhere. The budget

좋 • for the thirty-week shoot was less than 10 mil-

lion francs and half of that was spent on the
set. 1had the lamp posts , which were like
21
톰l

Jean-Yves Escoffier

22 EscoHier's skelch for a customised Louma cranes , built specially for me blind , Rembrandt ’'s lighting is by candle and the
three-wheeled pneumatic
with different kinds of light density for back light- scene itself is candleli t. Good sense would
machine which could accom-
modale a dolly and follow
aclors al speed “ Grips
‘
ing the actors Whenever 1 Nould be on the forbid you to bring candles next to a Rem -
crane , 1was able to back light from the bridge brandt , but we did. While we were shooting the
pushed and one grip steered
and eve이 bo d y goes! 11 was with its counterweighted long arm and separate scene , the guy in charge positioned himself
exhausling , bullhal l hrill of the actors from darkness. 1had also used that betw een the painting and the candle. 1assured
speed Îs amazing."
on the Boulevard Sébastopol in the film ’s open- him by saying , “ Okay, 1am here and 1designed
ing sequence. 1had the crane put on my special the case which contains the candles." 1speci-
wheeling apparatus , which again provided me fied the amount of candles in it , its weight and
w ith a mobile lamp post , 20 ft above the injured how secure it w as. 1asked him , “ Is it okay with
Alex , with shutters attached to it. It goes dark you if 1bring it here?" “ Yes" , he answered , "Can
Fι

(>.: when he moves away and casts a sodium light 1bring it a little closer?" “ Ah , ah" , and 1went
7 띠

V
when he walks under it. with his promptings. 1used a very thick candle
」

w ith several w icks , which helped the exposure ,

Î;~ It was almost impossible to get permission t。
film the Rembrandt se lf-p。이 rait in the Louvre ,
the image that Michèle , being a painter, wanted
to see for the last time before going completely
•
but unfortunately 1didn ’ t have Kubrick ’'s lenses
that he used on Barry Lyndon (1975). 1tried to
get them but 1could not source the m. [Z eiss 50
mm barrel lens with full aperture of f-O .7]

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4 아ι'" ’‘ gι 싸J ι써ι ιω‘V 23-24 Alex on Bo ulevard

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Sébaslo pol under mobile

slreetlig hl

25 M ichèle looks allhe

Rembrandl sel f-portrail under
ca ndlelighl

26 Rembra ndl scene

sloryboards
폐빠폐
쐐뱀쐐쐐
…써싸“쐐빼쐐
쩌합少學

24 26
Jean-Yves Escoffier

Gummo 28
CONTINUED
1997
lS 한2. 1:" lng Bermuàa shon : s , no shin: , and a pair of velc r。
sneaKers
Director
‘

iie lS 1:" iàing his yello'" skateboarà down the middle of t: he

Harmony Korine s t: ree 는

P6 5 S ; bL、i ν야
Cinematographer He rides from side to side
camera operator liccle ways dOwll the stree ~ε응응을← two NINE Y El>권 。 LD BOYS
p'.
shoo t: ing each o t: her '.'ii t: h cap guns
Jean-Yves Escoffier w e S -e ~ e /,‘’ vS fL"''/I *'\-. N'/J
Boch BOYS ar 응 νJ은 ar1ng c 。 νIboy hats and cowboy bo。는 S. 'T h 드 V I
Steadicam both 낀εve gun ho1s t: ers ê. round t: hei r ωalSζs. Theyare þuιμ\( b" 11 W" ql l::'‘
앞맏。 1 :1g on a 꼬꾀nl 낀lπcα
cur
Jacques Jouffret
이 Aι-' ~ \μν
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Focus puller 연s 다cr-.으으맏
A :1 삶
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up or.ζ。t: h르
BOYS ar 은 p1 드 ~"ln.s.... ...c;:,"-_
Sl디은“ ，';8. 1:-:. S• 4 rZ
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‘ tJ D

γ D e ‘。 μ“
Production designer b ‘ c F: ν; ι‘1"'，5l- e of rÌ>-t
The BU1ïiπ BOY scanås c hεr응 anò w.ξcchss t: hε kldS sh。。 E E三;π
David Doernberg 。 cher . P.은 lS h。마là
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The c'''o BOYS look happy ...-e "l G에 Ö \1 아、 싹y n f 1 ν ~\‘ t
\ -t'r- e :y C 얘 안ν얘

1The mock shooting 01 Rabbit \

Boy (J acob Sewell)
2 Escoffier‘ s Gummo screen.
play annotated by Harmony
Korine
\
!?lIN ν y. ~ boy f tl /! 5
(CONTINUED)
;o ,,>,ðI ιj 싸
2
The year Kids was screened at Sundance , my him , l’ m his agen t. "
agent was at the festival and while waiting late
one night at a bus stop , got chatting to a young On the first day of the production , we were film-
kid , who turned out to be Harmony Korine. As ing the mock shooting of Rabbit Boy (Jacob
she thought that he had done such a good job Sewell) by the two young kids . Thanks to the
writing the Kids screenplay, she suggested that
‘ lightweight Aaton 35 mm , we were able to just
he should write more. He answered , “ NO , I 90 with the kids. Then for some reason my
don ’t want to write anymore for anybody, 1 want assistant didn ’t know how to load the camera's
to direct , but 1 have a problem. 1 only want to magazine and so we had to use the bulkier Arri-
shoot with one person and 1 can ’t find him. " flex 535 , which starts to feel very heavy after
And she said , “ Wh。 ’'s that?" He replied , “ Jean- shooting hand-held for ten minutes. Four hours
Yves Escoffier.'’ She said , “ Well, you ’ ve found into the film , we got a call from the studio say ~

3 Tummler (Nick Sutton) and
Solomon (J acob Reynolds)
cycling into town
4 Solomon and Tummler
surrounded by mixed light
sources
Jean-Yves Escoffier
5 Harmony Korine's bathroom Ing , “ What are you doing? You can ’t have kids
scene notes from Escoffier’s
Gummo screenplay
swearing. " We were already in trouble , but
that ’'s how these kids are , that ’'s how they
6 Overleaf: Solomon eats in
speak! And you never see these types in Holly
the bath. with fried bacon
laped 10 Ihe wa ll behind him wood movies , because US conservative , a야istic
politics forbids it.
Most of the trailer sequences were lit with prac-
ticals , Kino-Flos and with very little eq 비 pment
and sometimes 1might have a few HMls out
side through windows , if necessary. Often 1
would have practicals on during the middle of
the day because it was quite dark inside the
trailers and 1loved the combination of colours ,
which gave me depth and felt honest and righ t.
1found it helped to do very little with the lights
and 1used tungsten or daylight film. The- combi-
nation of colours is already tAeFe , so you can
take either film stock , you just have to deal with
their proper filtration. Throughout Gummo , 1
used the Kodak 5293 1believe , the equivalent
。f Kodak 500T 5279 of the time. 1like it
because it has one texture and it works for me
with low levels of light
Gummo ’S crew was small and consisted of
myself, a camera assistant , two electricians , a
grip , sound crew and production people and at
times 1was ashamed of some of their behav-
iour. 1don ’t think that a crew member should
dictate where a director should or should not
shoot. If they don ’t want to , they are not oblig
ed to work on a film . However, if you decide to
work on a film about really poor white people in
the US , you respect them. If you have to shoot
in one of their houses and there is a bad smell
and the place is infested with bugs , you respect
them. You don ’t offend these people by show-
ing up in atomic gear with a white hood , white
gloves , mask and boots. When crew members
consulted me about this , 1said , "Stay where
you are. 1don ’t want you there. 1won ’t allow
you to go in that house , 1will go myself." One
day we were scouting a woman ’'s house , she
was in her mid- to late twenties with four kids
She had three phones , five or six 1Vs , all con -
stantly playing and her place was filthy. God
knows whι but in her kitchen she would save
every uneaten piece of fried bacon and tape it
P 에 l-~ rÐ 0κ to the kitchen and bathroom walls , so we used
this feature in the bathroom of Solomon (Jacob
5κ iι ""1 Le~ S+ .( κ“ ，;J'.， ó u • l Reynolds) , we didn ’t invent it
5 Y'.‘ 사 rν ， +• , nv .1 F- , ,J.j e V' S
Gummo ’'s screenplay was a montage of over
~:5 F ι，<-- h" Ljc ν/ι(H' ..... 서↓ Lv、 200 different episodes , one card per scene ,
<.L{ 9_- :_
, - '19
-\-μ
1-"" C: ν~ 11 which Harmony would then stick onto the wall
}~e ~ql{ ， and combine them together, also allowing for
"1 .. ,... , , \- improvisation , The opening scene of Tummler
c k • 5+- (Nick Sutton) and Solomon cycling down the hill
was shot from a camera car and just
f ‘F
happened. Who knows how to get scenes like
5
Jean-Yves Escoffier
this? If you have enough stubbornness and
honesty, you have a chance , sometimes , to
grab a little piece of this and that ’'s the only thing
that motivates me personally, it's beyond tech
nique , it ’'s beyond anything. There is something
that is related to a certain kind of spirit in this
craft. It ’'s either there or not in some projects ,
you either help or you fight it.
We shot the two shaven-headed brothers doing
weight lifting and exercises and the only direc-
tion Harmony gave them was , “ Okay, now after
all of that , 1just need a moment with the two of
you in your kitchen , you just have to do noth-
ing. " 1had ten minutes of film , we had no idea
what would happen and 1was so scared , we
took everybody out , except the boom guy. 1
started shooting - one minute - two minutes ,
it's very difficult for people to do nothing , so one
of them goes “ Oh , 1like your shoes , what ’s up
with your shoes?" and his brother replies ,
"Nothing , 1just bought them " , “ Yeah you did
right , why don ’t you give them to me?" “ NO , I
don ’ t give you my shoes. " Poum! “ Why don ’t
you give me your shoes?" “ Don ’t hit me! " Poum!
Poum! Poum! My initial fears were that some-
。 ne would stop or they would huπ themselves
The fight was real , they were strong and they
bled. After so much pain , they stopped and
they came back to the scene , the conversation
returned to normal , “ So , so , you don ’ t give me
your shoes?" “ No". "So what are we eating
tonight?" In this kind of situation , cinematogra-
phy is about doing nothing , to establish the feel
ing that something might happen , to be ready
for it and organise everything around you , so
nobody can mess things up , because on a nor
mal shoot , people will jump. So why did 1ask
7 Colour polaroid 01 Solomon
used in the photo montage
scenes
8 The shaven-headed brothers
figh t for the camera
everybody to go out? 1don ’t know myself
There was another sequence which is one of
π1Y most amazing cinematographic memories ,
but it didn ’ t make the final CUt. Th e shot was
very similar, these same two guys , after pump-
ing iron , do nothing , looking down for quite
some time and they look at the lights for a long
period , then spit on the lens and look down .
The time they took before raising their eyes was
scary, the look more scary, the spit made them
like ghosts and little by little , gravity worked on
the saliva , made their images sharper and
sharper as they were still staring at the lens and
then they looked down.
The arm- and the chair-wrestling scene was
scripted. However, we did not know who would
be allowed in the room. These guys were not
permitted to be drunk on set , but they drink and

are high all the time. 1 don ’t know what hap-
pened , but they were not sober when they
came in the room and there was a bad atmos
phere ‘ One woman had AIDS and the other one
hated her because she was terrified of her ill-
ness. Another man was just out of jail , who was
so violent and mad , whereas the other ones
were adorable. At the time 1 had no idea of this ,
so 1 replaced the lights in the kitchen with
domestic fixtures so that 1 co니 Id see them. 1
said to the crew, “ 1 want nobody in the room ,
you are only allowed to put a boom on my cam-
era , 1 don ’t even want anybody to focus , 1 want
to be alone in that room. " Because it was a
kitchen , 1 wanted to be able to react through
36 0" and Harmony had a wireless tap , so he
could see the action. After one set-up , where
pieces of chair flew c1 0se by, 1 said , "Can we do
another one?" And 1 set up a different camera
position. Then we did one more take to give us
plenty of cutting material. 1 like the pause in the
scene where the characters don ’t know what ’s
happening next , there is a tension and that ’s
when you have to do nothing. The camera
operator should never be afraid 까1e last thing
to do is to cut , even if the pause outlasts the
mag.lt ’'s amazing how much tension you can
accumulate with no technical interruption
Harmony had to fight so hard for his film and
eventually it became apparent that the stud i。
was working with the Writing Commission
behind his back , because they hated the film .
The first time he went to the Commission , they
asked him to make changes , he made all of
them. They then asked for more changes and
he said , "But what? 1 did everything you want-
ed. " “ Well" , they said , "That ’s not enough. " Th e
Jean-Yves Escoffier
빼빼
뼈뺑
퍼서
이
mp T
하
mY
me
떠
ω따
m
π
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10 The chair-wrestl ing scene
10
next time , he said , “ But 1 did tvvice everything
you w anted" and they said , "Yet the combina-
tion of what you did is so nihilistic. " He said , “ l
have no frontal nudity, 1 have no violence and 1
removed everything you wanted , this is censor-
ship , so now 1 sue YOU! " He called one of the
executives and left a message on his answering
machine saying , “ You are fighting against my
movie behind my back , if I don ’ t get my rating
next time , 1 will slash your throat , and 1 mean it! "
They took the tape to their la\N'ýers and the next
time he had his rating. 1 think the American
people should be ashamed of their negative
response to Gummo . Many criticisms can be
levelled at Harπlony Korine such as he ’s a trou-
blemaker, but from what I know, today, he ’sa
true artist , which is a rarity. 1 thought Gummo , in
its own waι was a part of an American film
miracle' and he was condemned for it
-
Jean-Yves Escoffier

1researched Nurse Betty’'s soap-style of shoot The Kansas Diner, where Betty (Renée Zell
Nurse Betty ing by going on soap sets and looking at their weger) waitresses was shot at a real location in
2000 lighting. It ’s horrible , it's everything 1hate and it ’S the 8an Fernando Valley. When balancing its
not very difficult to duplicate. They use these daylight and fluorescent lighting , 1decided not
zip Fresnel lights , which have nothing to do to go down the accepted academic route ,
Director with life and the sets are pre-lit at night by which is to tint the windows with spectra/hard
people skilled at not caring. We used a video gels , as it is not only extremely expensive , but
Neil La8ute camera and had a special advisor. When some always comes out too brigh t. 80 1thought , how
Cinematographer locations combined film [Iife) an c:j video [soap do people achieve this effect in very poor
opera), 1returned to my 8uper-35 film lighting areas? They shade the windows with self-adhe-
Jean-Yves Escoffier and then the soap opera would be lit for sive car tints , so 1had the art department
Camera operator Digibeta. At times the spectator has to replicate this car tinting , which combines differ
understand and believe he is in reality, not in ent colours and emphasises an unreal magenta
Michael Chavez a soap opera. blue. When this is combined with green fluores-
Steadicam
80b Gorelick
Focus puller
Todd Mcl\l1 ullen
Gaffer
Michael8auman
Key grip
Jorge H. Guzman
Production designer
Charles 8reen

1 Wesley (Chris Rock) , Charlie 3 Escoffier oversees Kansas

(Morgan Freeman) and Betty Diner lighting with Pruitt Taylor
(Renée Zellweger) in Kansas Vince (SheriH Eldon Ballard) ,
Diner surrounded by the tin ted Crispin Glover (Roy Ostery)
windows and Zellweger in foreground

2 EscoHier gesticulates on A 4 Greg Kinnear (Dr David

Reason To Love soap set with Ravell) and Zellweger surround-
Neil LaBute and Zellweger t。 ed by zip Fresnel lighting
his left

4
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Jean-Yves Escoffier
Possession
2002
Di rector
Neil LaBute
Cinematographer
Jean-Yves Escoffier
Camera operators
Gordon Hayman
Nic Milner
Steadicam
Howard Smith
Focus puller
Mike Evans 3
Gaffer
An interview with Neil LaBute
Steve Costello
Key grip Possession was a tremendously difficult shoot
physically. Not only was there a fuel crisis the
Bill Geddes first few weeks we were in England , but we
were just ahead of Foot and Mouth disease and
Production designer then the rain came. This made things look lush
Luciana Arrighi for shooting in the last days of August , but
throughout September we were out trying to get
our exteriors , sometimes moving every day or
two days from the west coast of England to Li n-
coln , then to York , then to Whitby. We staπed
with our wider material and kept pressing in , but
you could see on the second day that if the
weather didn ’t match , you would have to start
bringing the camera down , getting out of the
sky. It really looks like Roland (Aaron Eckhart)
and Maud (Gwyneth Paltrow) have been on a
journey, because you ’ ve had rol ling clouds ,
pouring raiπ and beautiful sunshine. Seal Court
was shot in a single day and it went from the
exterior of Christabel’s tower at dawn to that
last beautiful shot of the little girl running down
the hill with her brothers. It was just full on from
dawn until there was no light left.
Jean-Yves and 1shared the sanηe car, so we
could have that hour out to the set to talk and
one morning we were going to shoot the scene
when Blanche (Lena Headey) , the lover of
Christabel (Jennifer Eh l리， is walking into the
water at Black Park. There was this beautiful fog
and we thought it's not going to last , dammit ,
it ’s too bad and as we approached , it was still
2 sitting there and we thought this is interesting
1 C hristabel (J ennifer Ehle) and 2 Seal Court exteri or Then it became a frenzy of trying to get ready to
Ash (J eremy Northam) under- do something that was complex enough for
take some am ateur geology in 3 Blanche (Lena Headey) about
Whitby Bay. to drown herself
anyon e-, not least for me and the cameraman ‘ tures. 1relied heavily on him and if you look at
You ’ ve got to put the wetsuit on the young girl ,
you 've got to give her costume and it ’s got to
be just right , she doesn ’t want to go in that
water too many times. That fog held the whole
time , so it was one of those happy accidents
Jean-Yves was so boyish and enthusiastic
everyday and he gave himself completely to a
director in a way unlike any 1’ ve ever seen In any
person in any job. He was so devout to whatev-
er film he signed on tO . The script supervisor,
Li bbie Barr, would call him “ the sprite , the magic
elf". There was always a twinkle in his eye and
he was everywhere at once , he was like over
your shoulder and then he was back at the
camera. He would be the guy who would go on
a location scout and he’ d be wandering off
down a hallway wondering what the next room
might look like. It’'s not that it was never good
enough , it was just that he was always curious
what was around the corner. It was a little scary
to be the centre of that in a waι because he
had an abundance of great ideas. He was a
film-maker, as is hopefully everybody who works
on a film. That ’'s why 1’ ve never taken a "Film by"
credit or “ A Neil LaBute Film". 1don ’t abide by
that at all , it doesn ’t make sense to me , but he’S
the sort of reason that 1put faith in that. He was
as interested in the score , the poster as what
was being said by the actors and the dialogue
and he would give notes . 1’m never frightened of
that kind of input and to me , he in the most
inane , Jerry McGuire way completed me. He
thought visually, in the way that 1think in words
1tend to always think what people are going to
say, how that w ill sound and he thought how it
will look and how you can tell that story in pic-
 -
Jean-Yves Escoffiel

4 Neil LaBute and Escoffier
with director’ s viewfinder
5 The austere framing of the
fireside scene with Maud
(Gwyneth Paltrow) and Roland
(Aaron Eckhart)
6 Ash and Christabel surround-
ed by oil lamps and candle-
light
Nurse Betty and Possession , they’ re vastly dif-
ferent looking than the films that have come
strictly out of my head. As much as 1love
rehearsal and come from the theatre , Jean-Yves
was always the one willing to do it one more
time before we sho t. He always wanted to
come to rehearsal, just to get in there and
watch people. He would invest in a camera
operator, but every so often he would have t。
say, “ |’ ve got to get behind the wheel on this
one." And he would get in there and it would
invariably be like one or two takes and he got it
because he knew what was wanted. He was as
exacting on everybody else as he was on him-
self , he could go through focus pullers like
chewing gum , because he was shooting so
tightly. To him it made all the difference , he
didn ’t want to open it up , he was like , we can
get it , we just have to have time to do it. As
protective as 1was of actors , 1was equally pr'。
tective of him to say he ’s got to have time t。
make this and it doesn ’t matter if we ’ re losing a
day because what you get is going to be great.
Jean-Yves wanted to shoot most of the period
scenes in available light and candlelight. He shot
a lot of tests and we would sit down and look at
those. We would also go through books of
paintings and looked at Rossetti’s work , but to
get that lighter tone there weren ’t a lot of film
reference points , it ’s always the black-cloaked
Victorians that you see . We looked at Far From
The Madding Crowd (John Schlesinger, 1967).
Tess (Roman Polanski, 1979) and Ken Russell ’s
film about Rossetti, Oante ’'s Infemo (1967) ,
which our production designer Luciana had
worked on , so we had this perfect connection
back to that. We even looked at Barry Lyndon
(Stanley Kubrick , 1975) , though the period was
differen t. The final fireside scene between Maud
and Roland is obviously much different than any
other kind of lighting than you ’ ve seen in the
present day in the film. Jean-Yves wanted to
throw it back to something that seemed more
akin to the Victorian side of things ‘ You can just
see in the very formal setting of it , you look at
her fireplace , which we haven ’t seen before and
the whole framing of it is quite austere.
Christabel ’'s room in Seal Court gave Jean-Yves
a lot of freedom to get in very close. Again , he
wanted to shoot as much of that by the actual
lamplight as possible and so he was always
configuring some little light that he could jam in
next to the camera or hold himself and shine in
there. He would often have a small Kino-Flo on
a stand in a guy's hand , who would be like a
Roman legionnaire walking beside the camera
You always hear from the producers , “ Can you
get in there? 1want to see their eyes. " And he
was like , “ Yeah , if that ’s the only thing you ’ re
interested in , why don ’t you become an
optometrist! It ’s not just about the eyes!"
White was Jean-Yves ’ great enemy in terms of
colour and dealing with production designers
and costume designers. He didn ’ t like anything
white , it was always , “Can we dye this down?"
which was tricky in Nurse Betty ’'s hospital loca-
tions! He came into one of our sets and it was

8
7 Roland and Maud discover
the cache of Christabel's
letters under lampligh t.
8 Ash in his study_ "We used
the same kind o f red as the
Whitby hotel wa llcovering as a
colour link."
Jean-Yves Escoffier
10
9 Ash and Christabel in the
Whitby hotel
10 Maud and Roland in the
same Whitby hotel room 150
years later
11 Maud and Roland in Whitby
Bay. " We had luck dealing wi th
the really direct sunligh t. Jean-
Yves threw up silks and we
。 nly had a certain amount of
time before the tide would be
rolling itself back in."
11
different than w hat he expected. He said , “ Can
we just glaze it?" 80 they found some varnish
and glazed all the walls like a large ham! He
couldn ’t really paint on white , it was like the
opposite of an artist starting with a blank can-
vas , he always wanted to start with a beige
canvas. He was also a master of the Kino-Flo
and the homemade ligh t. Often he would come
in with 2 x 12s studded with car headlights cov-
ered with chicken wire and 1’ d be like , “ What in
God's name is this?" He ’ d created some new
light that you knew worked for him
When we sat down and looked at the script , 1
said , “ 1 have this idea about really simple ways of
moving time periods , we just literally shift the
camera over" and Jean-Yves liked that as we
both didn ’ t like the idea of technology. Probably
my favourite day on Possession was an extreme-
Iy low tech transformation. It was a difficult shot
in a controlled space in the hotel room of Ash
(Jeremy Northam) and Christabe l. Th ey’ re kissing
and then they decide to go out for a walk. As
they leave the room , the door closes and they
give Maud and Roland just enough time to pass
and walk in. Behind themall the walls slide out ,
new walls come in and as you pan back around ,
the room has advanced 150 years. Th ere are dif-
ferent wallcoverings , the bed's on one side of the
room as opposed to the other side , there ’s no
bathroom , the door’'s open. It ’'s just very subtle
and it doesn ’t call attention to itself. Th e idea was
that things have changed and yet haven ’t
changed at all, that life goes on and so the air
feels the same. Had there been a cut at that
door, the dust in the air would have changed ,
so we really wanted it to be all in real time.
When we went in to do the telecine of
Possession , you could see that Jean-Yves had
gone up into the corners and just painted it a
little darker, like a moment in Ash ’'s home when
he and his wife play chess , it ’s almost like fram
ing the picture. If you get a chance to look at
the DVD , he ’'s done even more remarkable
things with it and just given it an old style
photographic look. 1 think he was getting to a
place where he could do that with the film that
would be released in the theatres , so he was
always open to advance. He was never a guy
who was looking back , he was always looking
to the future and that ’'s why the future will miss
him. He was not just a Renaissance guy but he
was a guy who was looking for the next Renais
sance and that ’'s what made him remarkable.
The piece that 1 wrote for him at one of the LA
memorial services said something to the effect
of, “ 1 didn ’t know him long enough , 1 didn ’t
know him well enough , but 1 knew him and that
was enough" , that ’s what you felt like , you were
better for having known him

An interview with Robert Benton
The Human Stain
2003 1have a very collaborative relationship with cine
matographers. 1think it was Robert Altman wh。
said , "Finally fi lms are written in the camera not
Director 。 n the typewriter" and 1believe that ’'s very true
and 1never suggest to the DP what lens to use
Robert Benton or where to put the camera. We talk about the
Cinematographer scene philosophically, whether the camera
should move , stop , simply stay still and we do
Jean-Yves Escoffier this sort of coverage , but 1only do that in the
Camera operator loosest terms. If the DP has other ideas. I'm
always willing to listen and to take into account
Steadicam their point of view. 1said to Jean-Yves that my
James McConkey boundaries are this , “One is that the picture
looked like a letter written to a friend , it should
Focus puller have a very simple handwritten look , it should
not be overly done , you should not be aware of
Yves Drapeau the calligraphy in it , it should just be very person-
Gaffer al and very simple and slightly crude. It should
always be beautiful, but never pretty" and that
Sylvain Bernier was the only real direction 1gave him and he
Key grip honoured that charge and was very creative
within those limitations. 1think he shot The
Michel Periard Human Stain simp lι very plainly and yet very
Production designer beautifully and he also taught me a lot. 1had
never used shots which he called 게lsi de the
David Gropman head" , that are so close that you ’ re inside the
face. 1was very uneasy when he asked if he
could do the first shot like that, but as we talked
he said , “ It is that moment where you occasion-
ally get literally inside the character's head" and 1
felt it worked very wel l. This was an extreme
close-up , so that the forehead and sometimes
even the mouth is cut off. A very good example
of this would be the close-up of Coleman
(Anthony Hopkins) looking at Faunia (Nicole Kid
man) dancing , because in a sense what it ties
into is the young Coleman (Wentworth Mil le끼
What he’s looking at is not only Faunia dancing
but the young Steena (Jacinda Barrett) dancing
at the same time and 1think that ’'s very eloquent-
Iy told within the cinematography and editing
Jean-Yves insisted on an incredible sharpness on
Lester Farley (Ed Harris) in the two scenes with
the psychiatrist which are essentially soliloquies. 1
wanted to just let the camera sit on that actor as
much as 1could. 1knew 1had to cut away from
him from time to time but 1wanted the brutality
of that character suddenly just showing Up and
not going through an illustration of who he was.
The framing of Lester after he has run Coleman
and Faunia off the road was Jean-Yves ’ genlus
We let the camera deliberately sit on him and it
forces you to see that he wasn ’t a monster. It
took him less time to kill these two people than it
took him to smoke a cigarette
, The sharp close-up on Lester 2 The extreme close-up on
F때 ey (Ed Harris) in his Coleman Silk (Anthony
interview with the psychiatrist Hopkins) looking at Faunia The flashback sequences were designed very
dancing
Jean-Yves Escoffie
carefully, because 1wanted this to be like a
Cubist narrative , so that you could move back
and forwards within time , sometimes for rela-
tively brief periods using a technique that ’s not
dissimilar to the book. 1wanted the sense of
Coleman as a person , as a whole , but not by
following him in a linear line from adolescent or
youth until old age , but to move back and forth
to create the juxtapositions that would help
make the picture more eloquen t. We had a
discussion about the flashbacks and 1said 1did
not want the past to be golden , 1wanted you
never to have any signal that it was the past,
the past just showed Up and the present just
showed Up. It ’'s all a kind of jumble that in itself
in the sheer jumping back and forth from one
event to the other, regardless of time , gives itsel
a meanlng
1think Jean-Yves found something in this film
that he responded to , whether it was Coleman
Silk reinventing himself or the fact that there
were moments that were very erotic in the film. 1
think he got a chance to do something that
he ’ d been longing to do. 1think he felt a kind of
-1 don ’t want to say identification with the pic-
ture quite - but something that caused hiπ110
feel that there was in this , something .special for
him. He loved actors and he adored women
And 1think he was the great cinematographer
for actors , actresses especially and 1think he
loved those sensual scenes. Those wer~ really
Jean-Yves , 1did not say, “Li ght it in this way, or
have this effect." By the time we got to that , 1
knew how much 1could trust him and how
much we were talking about the same thing , SC
1just let him do what he wanted to do. We
knew that in one shot Steena was Iying on top
of the young Coleman and we knew that
Faunia’s dance should not be shot or lit in a lin-
ear way, that it should almost be like a memory
。f a dance ‘
1found it unique having a DP so committed , bu
who was also that concerned with the actors.
He would say to an actor, “ Just do what you
want to do and let me see it and 1will be able
to follow it , 1need to see it once to approxi-
mately know what you ’ re going to do. " 1thoug~
at last 1’d found someone 1’d be able to work
with the way 1worked with Nestor [Almendros]
and who was a paπner and not somebody whc
was a cinematographer. It ’'s devastating to me
still to think of his death , as it was for me with
Nestor. When 1began writing in movies 1began
wαking in a partnership so 1’ve always been
very comfortable in them , but they rarely exist
With Jean-Yves 1felt I’ d found a real paπner anc
there are a handful of people in your life that yOL
respond to in this way. He was a great friend.
o Oarius Khondji

Delicatessen At the end of the first day of shooting Oeli into the pace of it. Then in the sixth or seventh
catessen , we ’ d done between 10-20 real ly hard week everybody collapsed , the crew was so
1991 and ambitious shots. Jean-Pierre Jeunet and I exhausted. After this , there was a second wind.
were completely drained of energy and we
thought , how the hell are we going to manage Quai des Brumes (Marcel Carné , 1938) and
Directors to live through this? We knew that we had other French Poetic Realist films inspired Jean
sixteen weeks of five day weeks like this ahead Pierre and Marc Caro and they showed me
Jean-Pierre Jeunet of us. Then after this , came the second those films or selected clips in preparation for
Marc Caro exhausting day and the third. Li ttle by little , we Oe/icatessen. I remember being much more
managed to keep up and it became less tiring inspired by the pure cinematic style of silent
Cinematographer For weeks and weeks it went very well , we got films. I would watch The Wind (1928) by
camera operator
Darius Khondji
Focus puller
Rémy Chevrin
Gaffer
Bernard Gemahling
Key grips
Bruno Dubet
Yorgo Voyatzis
Art director
Marc Caro

1 Cinematographer John
Arnold and director 이 ctor
Sjöström on the set of The
Wind (1928) which Khondji
viewed before lighting Oeli-
catessen

2 ~hondji with light meters

silhouetted On Delicatessen ’ s
set

2
 Oarius Khondji

3 Martin Lewis' Spring Night, Sjöström , L’'A nge B/eu (1930) by Von Sternberg , catessen which vyas called the skipped bleach
bypass proces{ without acceleratoli까 was a
Greenwich Village (1930)
inspired the look of the
녕mpyr (1932) by Dreyer, Nosferatu (1922) and
butcher’ s shop Sunrise (1927) by Murnau and Von Stroheim ’S fifty percent process of the full bleách-bypass
early films. 1was also inspired by the paintings process. We did it in this way so we could keep
of George Bellows and their texture of black , some colours on the fi lm , otherwise the bleach-
brown , warm red , yellow and golden colours. 1 bypass would drain too much colour out. The
looked at Pictorialists such as Heinrich Kuhn , problem with it was that the prints would be fine
early Edouard Steichen , Stieglitz , Cameron and for a while if they were shown on a really well
the illustrator, Martin Lewis. tuned projector, but when they were shown on
a projector with an uneven heat throw, it would
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Darius Khondji

6 The Delicate ss en 5et “ It
was the fjrst time for me that a
film ’s art direction was f미 Iy
achieved by the joint work of
director Dean-Pierre Jeunet] ,
a 이 director [Marc Car이 and
cinematographer. they were a
constant inspiration to me."
7 -8 Robert Ku be (Rufus)
witnesses staircase shenani-
gans
9-1 0 Khondji ’ s annotated
screenplay showing the bath-
room f1 00ding scene
little turn of the knob can fog the fi lm. If your
operator is not attentive , it can destroy a scene.
You have to light for this colour process , espe-
cially if your aπ direction is in a dark register. You
have to do multiple tests to tune Up this colour
process before fi lming. On Oelicatessen we
needed to do a lot of tests to show the make-
up artists , hairdresser and the producer how the
film was going to look. The art director and art
department had to prepare the materials , the
texture of the paint colour and the costume for
the process.
1 remember very clearly telling myself when 1
was studying Oelicatessen ’s storyboard and
reading the script that the building and the stair-
way were like characters in the film. The stair-
way was like a tall dark character going through
the house. Since 1 was a child , stairways have
always been a factor of hell for me and one of
the scariest places 1 can imagine. We were first
supposed to shoot the stairway on a real loca-
tion , but 1 knew there was no way we were
going to achieve what we wanted on a real
location. 1 had to talk the producer [Claudie
Ossard]. Jean-Pierre , Caro and the production
designer into building the stairway on stage
even though there was no budget!
1 shot eighty percent of Oelicatessen on Kodak
100T 5248 with the skipped bleach-bypass
process ~it h acceleratorl because 1 wanted it to
have a very crisp , hyper realistic look , so you
could almost touch the texture . 5248 was
mostly used for exterior days , because of the
amount of light the process required ‘ 1 had to
use a lot of light to do my day interiors. Howev-
er, 1 decided to expose the bathroom-flooding
scene normally, whereas the rest of the day
interiors are darker. [ thought at first that 1 was
going to make the bathroom lighting very low
key and shaded and then suggested this alter-
native to Jean-Pierre and Caro , saying , “ Why
don ’t we make the bathroom with no shadows?
Louison (Dominique Pinon) and Julie (Marie-
Laure Dougnac) have nowhere to go , so the
butcher could see them and they would be fully
in the ligh t. " 1 found this more scary than having
the characters able to hide in the shade. 1 now
use slightly softer stock and 1 model more indi-
rect light to achieve contrast. However, what
has been really important for me right from the
beginning is the direction of the light and where
Ilight from
1lit the story in a very basic Manichean way. The
butcher (Jean-Claude Dreyfus) was evil and 1
would light him from below, giving him more of
a gargoyle look. 1 always lit the butcher's eyes
with a dash of light , a small fluorescent ligh t. At
the time of Oelicatessen , Kino-Flos didn ’t exist ,
so my electricians had to build those fluorescent
boxes . They were dangerous and the colour
was uneven. They were green , magenta and
were all over the place so we had to correct
everything to zero. Jean-Claude Dreyfus is one
of the actors that has inspired me the most
throughout the years. 1 would put a fluorescent

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11
light behind him out of frame just in order to
have some reflection in his greased ‘ gominée ’
hair. There was an in cr'edible bond between
Jean-Claude and 1. He knew 1 was lighting him
to make him look him more interesting , although
we never discussed this. He enth 니 sed me t。
light him better.
We shot almost the whole fi lm with a 25 mm
Cooke lens which was a great chalienge. While
working with Bruno Nuytten , 1 leamt the big dif
lerences there were between the prime Cooke
and prime Zeiss lenses. The Cooke were
rounder, softer, much more beautiful on skin
tone and colours , whereas Zeiss were much
sharper, more modem , edgier, contrastier lens
es. Our long lens was a 32 mm for close-ups
which is still a wide-angle lens. Jean-Pierre and 1
soon discovered why it was taking so much
time to light even inserts with a 25 mm , as the
angle behind the insert could encompass a shot
01 a whole room. There is still enough depth of
field in the 1.85:1 format to judge the lighting
and Caro and especialiy Jean-Pierre wanted
that depth of field
Darius Khondji
11 Louison (Dominique Pinon)
and Julie (Marie-Laure
Dougnac) in the shadowless
bathroom
12-13 The Butcher (J ean
Claude Dreyfus) lit to look like
a gargoyle
14 The Butcher and Marcel
Tapioca (Ti cky Hogad이
discuss where their next meal
is coming from
8hooting the mist was a big problem on
Oelicatessen. Because we had so little budget ,
there were a lot of things we couldn ’ t show
when we were shooting live , so we realised we
had to put more mist in different scenes. Jean
Pierre , Caro and 1 had the same sensibility and
didn ’t think that normal day exteriors were
appropriate in this stylised movie. 80 we would
put fog everywhere and we could just see
structures of buildings popping out of the mist
80metimes , however, with fog or mist , either you
see too much or you don ’t see enough. As a
young cameraman , 1 had an incredibly hard time
knowing how much we were going to see. This
was accentuated by the skipped bleach-bypass
process because it works like an anti fog. Once
the process is really at its best , it gives so much
contrast , it dismantles the log , so we had to add
more fog. But if you put in too much fog , then
you don ’ t see anything. 80 we were constantly
battling to get the mist righ t. On some scenes
with a lot of fog , 1 pushed the stock one stop
Also we were not aliowed to do too many takes
because it was a low budget film. The actors
had to be ready when the fog was right and had
to deliver their lines immediately
14
Darius Khondji

La Cité des enfants perdus

City of Lost Children
1995

Directors
Jean-Pierre Jeunet
Marc Caro
Cinematographer
camera operator
Darius Khondji
Underwater photography
Roland Savoye
B-camera
Steadicam
Marc Koninckx
Focus puller
Philippe Le Sourd
Gaffer
Bernard Gemahling
Key grip
Bruno Dubet
Production designer
Jean Rabasse
Artistic direction
Marc Caro

1 Jean-Pierre Jeunet and

Khondji with director’s
viewfinder set up a shot with
Mietle (J udith Vittet)

2 The lace 01 Peter Lo rre (Dr
Gogol) in Mad Love (1935) ,
which Khondji used as a
lighting reference
3 An early use 01 a China light
。n La Ferté Aliais soundstage
-
Oarius Khonc
City of Lost Children was the film Jean-Pierre
Jeunet and Marc Caro wanted to make before
Oelicatessen. 30 it was planned years ahead ,
although they rewrote everything when they 9。
to shoot it. 1 came to it quite early on and 1
remember Caro struggled a lot because he
really wanted red and green in it. He didn ’t war
the film to look golden like Oelicatessen. The
problem on City of Lost Children was that we
were dealing with a similar colour process. We
didn ’t have our hands on ENR yet and we wen
wαking with the French lab LTC , although our
friendship was with Eclair. LTC was a more aca
demic lab , but they happened to have a great
silver process which was closer to EN R. We
wanted to develop the process on the interpos
tive , rather than the print itself and tuned up a
process while shooting a massive amount of
tests. But we were never satisfied enough with
the interpositive process , so we ended up print
ing only on the positive process prints. A lot of
the film was shot on 14 mm , 18 mm and
25 mm lenses and some shots with the 8 mm
or the wide-angle fisheye lens to reflect Irvin ’s
point of view. 1 used two stocks and shot some
of it with a Kodak 100T 5248 and some with a
faster stock , the Kodak 200T 5293.
My references for City of Lost Children were thE
illustrator Martin Lewis and the artist George
Bellows , but also film noir and silent movies
such as Mad Love (Karl Freund , 1935) with the
face of Peter Lorre as a lighting reference. 1
studied the Ex pressionists with Caro and Jean-
Pierre , especially Otto Dix and Egon 3chiele
We researched the specific lighting and colours
of the sets and costumes and how the natural
quality of the light on the neutral spectrum
would allow the red and the green to come out
more. If you put a blue veil or a golden layer on
the film , everything becomes a bit more mono
chromatic and the colours pop out less. If you
go with more neutral white light , in terms of bluE
and yellow, then all the colours are respected .
City of Lost Children was a longer shoot than
Oelicatessen. It was twenty weeks and was
filmed on one of the largest soundstages in
Europe at Arpajon , La Ferté Allais , a converted
plane hangar south of Paris. We shot all
throughout spring and summer and ended in
fal l. It was hot , there were a lot of lights , hun-
dreds and hundreds of kilowatts of lights and
there were 3-4 weeks of pre-lighting the sets
The port set was built with overly painted red
bricks with some green and red wash on the
walls. 1 would talk to my gaffer Bernard
Gemahling while filming the construction of the
sets with my Hi 8 camera , ’‘ Here , we are going
to put some Parcans skimming along the walls
。f the buildings and the factories. This is where
Oarius Khondji

the little café is going to be built and this will be

li tJrom top ligh t... " We also added green pig-
ment into the huge water tank to make the
water look like the Venice lagoon.

Caro and Jeunet always reminded me not to

make City of Lost Children too scary, that it ÌNas
also a comedy, not only a horror film . Although
we were freer on City of Lost Children and we
were able to do things exactly the way we
wanted , at the same time , the firs t-‘ thing 1
remember is how heavy the production was .
The budget of City of Lost Children was ten
5 6
times more than on Oelicatessen and that much
4 , 6 Colour polaroids 01 the 5 One (Ron Perlman) against
more moneι that bigger crew, that bigger port set Irom Khondji ’ s annotat- the port ’s red bricks and green
scale , put a lot of pressure on us. 1think the film ed screenplay. " Caro and wash walls
Jeunet always wanted more
suffered as a result of how heavy it was to 7-8 The red hair and white skin
depth in the foreground ,
move , in terms of shots , even in its lighting. S。 middle ground , background 。 fOne

the twenty weeks schedule was not that much and lighting ."
9 Miette and One share the
for what we wanted to achieve and we were so frame
scared that this feeling would transfer itself ont。

the movie. There were a lot of crane shots , but
we still didn ’t have the money to shoot it w ith
Technocranes or modern cranes and we had
the Lourna crane only for certain days. We had
to use a construction crane like a Cherry Picker
allowing for the bump at the beginning and end
of takes and only using the interirn flowing
movernent in the selected shot. We stitched
ourselves up with the crane , because water was
around eve미 single shot and we could only
achieve 5-7 shots a day working with the story-
boards. Unfortunately Jean-Pierre and Caro
needed a lot of shots to make the film work for
the editing and we couldn ’t achieve this num-
ber. 80 we were falling behind
Oaniel Emilfork (Krank) was fantastically inspiring
and exciting to ligh t. His face , his nightmarish
silhouette was really like that of Nosferatu. He
brought us into a dreamy kind of world. Jean-
Pierre , Caro and 1had seen the perforrnance of
Ron Perlman (One) in Cronos (Guillermo del
Toro , 1992) and we all loved him in La guerre du
feu/Quest for Fire (Jean-Jacques Annaud , 1991 )
and in The Name of the Rose (Jean-Jacques
Oarius Khondj
Annaud , 1986). He was a great subject and
character to light and he was the first American
actor 1worked w ith. It took rne a few weeks to
get the feel and understand how he should be
lit and then he was part of the family. He was
not as obvious to light as Oaniel Emilfork or
Jean-Claude Oreyfus , but then when 1found out
how to light him , 1found hirn as exciting as the
two others. 1was used to lighting actors side-
ways , in half light , making a contrasty face , but
on his face. this wouldn ’ t work so well. His best
light was a top light , modelling the skull óf his
face with darker eyeballs , making it more and
more dramatic and 1always had t o put a light
by the caπlera to get into his eyes . 1thought of
him as a very flashy character, in terms of colour
w ith his red hair and very white skin tone. It was
always very difficult to put Ron Perlman and
Judith Vittet (Miette) together in frame. Li ghting
them was one thing , but also framing them
together was another matter. We always had t。
cheat by sometimes raising Miette , having him a
little bit lower on his feet , using very low 'ãngles
or using very high angles to have both of them
together in the frame. 1lit Judith Vittet as a
Darius Khondji

11 The look of Gene 끼 erney In

Leave Her 10 Heaven (1945),
which inspired Miette’s
glamorous lighting

12-1 3 The vagabond kids

" Jeunet has this great way of
talking to kids as if he is still a
ch ild himsel f. "

10 13
10 Miette lit in the classic glamorous classical Hollywood woman in an
Hollywood style
early Technicolor film even though she was so
young. 1lit her like a woman , because there is
some seduction going on between Miette and
One. There ’s a lot of ambiguity, so 1played with
that in the lighting. The texture of her skin had a
wax doll-like quality to it and 1always remember
lighting her with the dark hair, a little like Gene
Tierney in Leave Her to Heaven (John M. Stahl ,
1945). 1lit the other kids very carefully, very soft
Iy, in contrast to the background , but also very
frontally, so they look very genuine and are less
in the shadows. 1used soft light boxes behind
the camera

1was afraid of losing control on City of Lost

Children , because of the size and scale of the
picture and because of the input of the special
effects and the 150 digital effects shots. Our
digital visual effects supervisor Pitof was
11

15
working with us and he had also worked on
Oelicatessen and on some short fi lms 1had
made with Jean-Baptiste Mondino. He always
tried to make the effects look like film. which
made me feel at ease. However, we still had to
struggle a lo t, especially with that ambitious
cloning scene with Dominque Pinon (Les
clones) . It was quite a challenge to do it in front
of bluescreen which 1hated shooting and which
makes everything look like a TV set. My main
concem was to give soul to the lighting of the
cloning scenes , even though they were shot on
this flat bluescreen. 1have always been a cam-
eraman who defers to digital once 1know for
sure that a technical trick can be better realised
in this medium. The on camera tricks 1love are
the very simple ones , like double exposing and
vignetting
In City of Lost Children 1had my first underwater
operator, Roland Savoye , with me in the south
Oarius Khondj
14-15 The painterly images of
Miette saved by Le Scaphan
drier (Dominique Pin on)
16 M iette’ s drowning
sequence st。 이 board s
。f France. We scouted a special area where we
could have control underwater, it was shallow,
but it was near a harbour. We shot a scene in
the sea at night where Le Scaphandrier
(Dominique Pinon) walks on the sea floor and
Miette falls into the water. It was the very begin-
ning of my underwater filming experience and 1
remember trying to film the red of the costume
in the green of the water. 1liked the painterly
images and the milky fuzziness of it. On the
bank , 1set up some Par lights which gave us
those shafts of ligh t. Filming underwater all you
have to do is put a big shaft of light directly at
the camera , preferably three quarters sideways
or back li t. You don ’t really need to fi ll light ,
because the light bounces into the water and
comes back on the face . 1don ’t remember
putting any milk α paint in that particular water
because we always experienced that after a
short time the water became very milky, dirty
and very reallooking.
16
Oari us Khondji
1 remember coming back to my apartment
Seven exhausted and sometimes just falling-asleep
1995 and waking up in the morning wit)1 the lights still
on and having to rush back to the Set of Seven
We had a 12-13 week schedule and the days
Director could be as long as 18-20 hours ‘ Speaking
American English all the time to Oavid Fincher,
Oavid Fincher big rough union electricians and grips was com-
Cinematographer pletely new to me. Sometimes 1 had weekends
。ff ， but even on Sundays 1 would often meet
Oarius Khondji Oavid and scout locations. When 1 started work-
Camera operator ing on Seven , 1 had just done Oelicatessen ,
which had been a cult film in the States but had
Conrad W. Hall not had a wide audience. City of Lost Children
Steadicam was not yet out and 1 hadn ’t shot anything .else ,
so 1 was really apprehensive , but it gave me a
Oavid Emmerichs definite edge and 1 was prepared to fight for
the film.
Focus puller
Brad Edmiston One of the things that impressed rrie as a
young French guy just starting on a big Los
Gaffer Angeles production was the amazing effort put
Christopher Strong into creating its rain effects. The rain throughout
Seven made Los Angeles look unrecognisable ,
Key grip more like New York α Philadelphia. We had
Michael COO gears rigged on the car of Somerset (Morgan
Freeman) pumping rain , with water tank
Production designer reserves on the back. We used rain cranes and
Arthur Max in the distance there were big extended cranes
with 18K HM ls on top of the roofs. Oavid want-
ed rows of avenues rigged with rain cranes. 1
thought 1 really have to deliver with demanding
directors like this!
Some of my inspiration for Seven came from
1 Khondji used Robert 2 Fr Oamien Karras Oason walking the streets of New York. These always
Guinan ’ s At th e Bohemian Miller) in The Exorcist (1973), filled me with feelings of in secu ritι of being lost
Club Bar (1977) as an inspira- a film which Fincher suggested
tion for Seven “ Guinan ’ s work Khondji watch before lighting
in the city, lost in the crowd , lost in places that 1
was seeded in my souL" Seven feel so good visually about , but at the same
time scare me personally. 1 like the contrast of
the two and when 1 read the script , it talked to
me very much in that sense. In preparation
Oavid showed me Klute (Alan J. Pakula , 1971)
and The French Connection (W illiam Friedkin ,
1971) and Seven was inspired bya mixture of
the stylised work of the former and the rawness
and grittiness of the latter. My other influences
included Robert Frank’s The Americans. The
photography of William Eggleston and Joel
Peter Witkin and The Exorcist (William Friedkin ,
1973) were also suggested to me by Oavid.
Oavid Fincher is a very, very demanding director
to work with , but equally inspiring. He would
push me into shooting a certain way that 1 like
shooting and which was appropriate for Seven ,
but it is something 1 would never be able to d。
for another director. Just before Seven , 1 was
shooting City of Lost Children which was lit dif
ferently with non source lighting , whereas on
Seven it was totally different as we used justified
lighting throughou t. We shot tests for about four
days , looked at the resu lts and then re-shot
some tests. 1 explored how far 1 could go in
underexposing and investigated certain ques-
tions: What is the reality of the key light , an
underexposed key light or top light? How bright
can you go , how dark can you go with dark
skin? 00 we have to make it shiny or can we
light it without making it black? 1 shot the interi-
。 rs on f-2.3 , f-2.5 , f-2.8 at the most. The exteri-
ors 1 shot not far from that , from f-2.8-f-4 ,
because we didn ’t want any depth of field. We
were after a very claustrophobic and overcast
look. One of our aims was to free up the cam-
era , to flow between static shots , tracking
shots , Steadicam and hand-held. We used the
Aaton 35mm camera for every hand-held or
2

4 Mills (Brad Pitt) and Somer
5et feel the effects of the rain
cranes
5lohn Doe’ s apartment
Steadicam shot ‘ For the first time I was not
operating the camera as Oavid preferred me by
his side , by the monitor, discussing the shots.
Oavid had asked me whether 1wanted to shoot
with an Arrifiex and Cooke lenses and 1decided
to shoot Seven with the American Panavision
equipment and Primo lenses w hich 1had want-
ed to use for a long time. We shot mostly with
a 27 mm lens , which 1think is a very good
focal length
For most of the interiors of Seven , 1used Kodak
200T 5293 which was quite a contrasty and
sharp stock , with a bit of graininess in it. It was
later replaced with a very different stock , the
Kodak 200T 5274 that all cameramen use now
1used a high speed stock for night shoots and 1
used a much softer, newer stock , the Kodak
320T 5287 (the ancestor of the beautiful Kodak
320T 5277 stock) in some of the car interiors
when it was very bright outside. Although the
5287 was a bit soft , it was very good for our
Oeluxe CCE bleach-bypass process. This was a
less sophisticated process than the one 1used
on City of Lost Children and Oelicatessen and
was q 비te rad ical. It increased the richness of
the blacks enormously, de-saturated the colours
and unfortunately added a tiny bit of grain to the
image. It worked really nicely on Morgan Free-
man's black skin and accentuated the sheen on
his face. Every time you light with rim lights , it
would stick out more , burn out and increased
the contrast between the dark areas and the
bright areas
1didn ’t flash anything because the Panaflex ’s
special flashing device , the Panaflasher, is not
as good as the Varicon. It doesn ’t allow you to
look at how much you are flashing the lens ,
unlike the Varicon which enables you to fiash
the shot by changing the setting with a special
Darius Kh ondji
-
3 Car interior with Somerset
(Morgan Freeman) filmed on
Kodak 320T 5287
5
dial. With a Panaflasher, you have to go blind
After shooting tests you shoot everything the
same , which is not in my nature ‘ 1always
change things here and there and sometimes
this drives people crazy. 1have to say that
Morgan once got a bit impatient with me on
the film!
You have to be very careful with the colour of
blood with the bleach-bypass colour process.
The process has a tendency to darken and de-
saturate colours , so it makes a dark red more
crimson , unless you put it under the light , which
might bring it back. You don ’t see any subtlety
in dark clothes as they become black. On every
film 1shoot film tests of blood samples going
from darker to brighter red , printed the way 1like
it and with a selected process , if 1have one. 1
look at it with the production designer, make-up
artist and costume designer and we decide
which colour of blood will look the most realistic.
1find the relationship between cinematographer
and costume designer very importan t. The
actors are one of the key elements for me in a
film . Whether their clothes are going to look
good on film and at the same time look good
on them has to sit with my work. It is very
important for me to understand who the char-
acters are , to photograph them correctly and to
make the right statement visually. 1w ill discuss
colours of fabrics with the costume designer
especially with the bleach-bypass process 1use
on most films. The costume designer really
needs to understand the process so he/ she can
choose the materials accordingly. Michael
Kaplan [costume designer] had a very clear per-
ception of what should be right for the charac-
ters. At the same time , he had a very good eye
and taste for fashion and an ability to under
stand narrative.
Dari us Khondji
7 9
1lit the ápartment of John Doe (Kevin Spacey)
completely for the set and 1wañted the actors
to move very freely in it , without thinking that
they should be li t. 1mentioned to them at some
point that they should light themselves when
they wanted to be seen and the rest of the time
they would be in the dark or almost in the dark
or semi-darkness. 1believe that it ’s good for
actors to be in the dark and not always to be lit
brightly when they deliver a line. At some point
in the scene , 8rad Pitt (Mills) had a problem with
his flashlight and continued to play it in the
scene. The light just went on and off by itself
and we liked it and we incorporated it.
1saw the killer as a conceptual artist who
makes these mortal sin installations. For ‘ Glut
ton y' there was greasy, white paper in front of
the window with HMls rigged to pierce the white
layers of diffusion and to filter little bits of light
through the room. 1was shooting at a very low
light level and 1had put small pieces of white
and silver cards hidden in the corners. 1con-
stantly renewed the batteries of the actors'
flash lights to ensure their brightness and had
them hit the white and silver cards which
bounced the lights back at them. The rest was
done with a little bit of smoke in the rooms and
some practicals which were almost dead. We
also ciosed the stop , making it real ly dark and
shot it wide open between f-2-f-2.8. The
exterior HMls were bala미 ced for daylight and
1put a 159 straw gel on them , just to get the
magenta out
’ Sloth ’ was one of the most inspiring locations
that we scouted . It stank , was horrible and really
depressing. We were slipping on condoms and
crack bottles , but at the same time it was very
exciting to be there on a real location , so fu ll of
sou l. We were obliged to have it cieaned and
then put our props in it , so we added a lot of
crack bottles on the floor and we hung these
fragrance trees everywhere ‘ The location was
quite difficult to light and we were depending on
a whole row of HI\I1 ls on the other side of the
building to light through our windows. We shot it
brutally, with no sophistication and the only
6 The ’ Sloth ’ victim lit with a 8 Th e 'Pride’ victim lit with
green lilter on daylight and white light
tungsten balanced lights
9 The high key lighting 01 the
7 Khondji on the 'Gluttony’ se t. 'Greed' set
available light was coming from way outside. 1
had no way of diffusing or reflecting light and
the HMls flooded into the rooms , wherever they
could reach. The rest was done with some
Kinos in the hallway ceilings , just enough to see
by. Edvard Munch and the green , claustropho-
bic aquarium quality of his paintings was a great
inspiration for this scene. 1added green to the
daylight -balanced lights to achieve this effect ,
even adding green onto tungsten lights. 1tend
to light more and more by eye. 1do however
use a colour temperature meter a lot , because 1
have difficulties with coloured ligh t. 1know that
my gaffers have a hard time with me because 1
want to know where the colours are , 1can ’t
stand having lights all over the place in terms of
green and magenta. At the beginning of the pic-
ture , 1put gels on all the lights , we number them
so we know the lighting requirements of each
light and every week we check them again.
When 1now see Mills ’ and Somerset ’'s precinct
。ffice ，
1am always surprised by how many
whitish blue fluorescents there are. 1wanted the

office to be overflooded with ligh t, more than
everywhere else. That ’'s where 1felt more at
ease , there was more security and safety in the
precinct. 1saw it as a very high key place in
terms of lighting and when they came out of
that bank of fluorescents they entered into more
shadowy low key areas. 1lit with daylight tung-
sten tubes to balance with the windows outside
and had a mix of daylight and cell tubes.
It was quite tricky to position Kevin Spacey
behind the grid in the police car in the final
‘Anger’ scene. It was all shot with two cameras
inside the car, lit from the exterior from one side
1used this technique suggested by my grip
[Michael Coo] that makes the light look very
10
Darius Khondji
natural inside the car by bouncing very strong 10 Edvard Munch ’ s Th e 12 Doe (Kevin Spacey) careful
Dance on the Shore (1900 Iy positioned behind the police
2.5 cine Par HMls onto pieces of ply board 1902) was one of Khondji’ s car grill
painted white. That gives you a very soft , broad , inspirations for the Sloth
scene 13 Mills vents his anger
light , like sky light coming in on the face. It was
much nicer than using a direct light with diffu- 11 Somerset in the precinct
sion , which would have been difficult to keep 。 ffice ' s
high key lighting
。 ut of frame. We shot the denouement from
morning to evening for a few days , although
we wanted to make it look like one particular
moment. Then we came back and shot more
。f it. The hardest thing was ensuring the lighting
continuity. 1was always afraid of the light ’S
direction and David made me shoot and shoot
and shoo t. He wanted coverage , probably
for alternative endings and then he edited
around that
12
13
Darius Khondji
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Director
Bernardo Bertolucci
Cinematographer
Oarius Khondji
Camera operator
Enrico Umetelli
Steadicam
Nicola Pecorini
Marc Koninckx ‘

Focus puller
Philippe Le Sourd
Gaffer
Stefano Marino
Key grip
Aldo Nerone
Production designer
Gianni Silvestri

3
1 Khondj i and Bernard 。 3 Khondji was in awe of
Bertolucci setting up a shot in Bertolucci ’ s work with Vi ttori。
"the heart of old Chianti" Storaro, in this scene from Last
Tango in Paris (1972) an old
2 Bertolucci and Khondji lady replaces her dentures
watched Le Plaisir (1952) in
preparation and here Rosa
(Oanielle Oarrieux) and Joseph
Rivet Oean Gabin) pick flowers
in the Maison Tellier segment
 Darius Khondji

My agent 8ue Greenleaves said “ Would you like

to meet 8ernardo 8ertolucci , he’'s looking lor a
new cinematographer to shoot his comeback
movie in Italy?" 80 we met in his Paris hotel
Bernardo wanted me to show him something 1
had shot and 1 told him , “ What you are going to
see bears no relation whatsoever to Stealing
Beauty , but this is the only thing 1 can show you
at the momen t." 1 drove him to the lab and we
watched a reel 01 City of Lost Children. We had
lunch together and he said , “ Fine , it looks really
nice and it ’s differen t. " He handed me the script
lor Stealing Beauty saying , “ Read this script , 1
want to know what you think about it?" 1 read
the script and 1 said , “ 1 would love to do this
movie. "

Working vv φ 8ertolucci was like walking on the

top 01 a réally high skyscraper and looking
down to the avenue below, it lelt like vertigo. 1
grew up watching 8ertolucci and 8toraro ’'s work
and was in awe 01 their work together - Last
Tango in Paris (1972) , The Conformist (1970)
and 1900 (197 히. In preparation , we watched
Th e Rules of the Game (Jean Renoir, 1939)
together because he wanted to show me the
film ’'s Iluidity 01 camera and the way its story is
told. We watched Max Ophüls ’ Iilms , especially
Le Plaisir (1952) that has these incredible open-
ing shots. We talked about Mozart and he
showed me the Fauvist painters he liked such
as Henri Manguin [La Sieste ιe Rocking-Chair,
Jeanne) , 1905 was used as a particular visual
relerence].

It was important lor 8ernardo to have a dramat-

ic element in the lilm at some point , but in a
very light way. 8y this , he meant how the cam-
era would move and observe this circle 01
people witnessing what ’s happening w ithout
taking any judgemen t. We talked about the
'veduta ’ or the window in Italian Renaissance
painting. From this window we see the land
scape in the distance or another character in
another roo m. We talked about observing
something happening in another space , almost
‘lenêtre sur cour’ We see this when we enter
4 An example 01 a 'veduta ’,
the Tuscany larmhouse at the staπ 01 the lilm , Antonello’s Saint Jerome in
taking the point 01 view 01 the young arrival , his Study (c. 1474-5), which
inspired the lilm ’ s composl-
Lucy Harmon (Li v Tyler). tions

1 wanted to shoot Stealing Beauty in a very 5 The arrival 01 Lucy (Li v T'끼 er)
at the cazale
naturalistic way. 1 told 8ernardo that 1 wanted
almost to clean the lilters off the lenses and
avoid lighting tricks , although 1 did apply an
ENR process to the lilm in a very mellow degree
01 inlrared. 8ernardo and 1 decided that we
5
were not going to make the film very dramatic
and contrasty, which we both liked , but were
going to play the film in a different note. It was a
difficult film for both Gianni 8ilvestri [production
 Oarius Khondji

。 pposite: Enrico Umetelli 7 Lucy and her petrol.blue

designer] and 1 because the film was shot on
。 p e ra ti n g
camera, Khondji jeans
location , it was a contemporary story and he (centre) holding t-stop control,
had to deal with the existing house. Bernardo Berto lucci at the monitor and 8 Alex followed by Lucy on the
Jeremy Irons (Alex Parrish) in "Siena earth " coloured path
and 1 insisted on having a kind of Siena earth
foreground
on the garden path and we real ly wanted the
green and the red to come ou t. We concentrat-
ed more on Fauvist colours , ochre and red
tones for the costumes and we had modern
American blues in Lucy’'s petrol-coloured jeans.

On Stealing Beauty we mainly shot with one

camera. We used Bernardo ’'s Steadicam opera-
tors , Nicola Pecorini and Marc Koninckx , wh。
shot a few shots for second unit for us. Bernar-
do and 1 talked about using anamorphic versus
Super-35 and we ended up shooting Super-35
2.35:1 on Arriflex BLs , which is a choice 1 regret
a little bit. If I had to do it again , 1 would shoot
the film on real Cooke anamorphic from Techno
Vision in Rome. It would have been more
beautiful overall for this film , it ’s got more subtle
quality on the skin and it's more beautiful on the
landscape. Super-35 allows you the freedom to
shoot with a good range of non spherical wide-
angle lenses very easily. It allows you to play on
the negative with the full gate , whereas the
Cooke anamorphic is an older type of lens and
allows less freedom for special effects and is
more costly in postproduction if you use digital
fx extensivel y. Stealing Beauty had almost no
special effects and we didn ’ t especially use
wide-angles. 1 didn ’t shoot Stealing Beauty with
Iittle depth of field on purpose , I think I did this
more or less subconsciously to make it look a 7
bit more like anamorphic

Shooting so many exteriors was quite a hard

experience for me. Bernardo was anxious to
see my exterior work when he hired me and 1
showed him a tape of Before the Rain (Milcho
Manchevski , 1994) where 1 had shot most of
the Macedonian exteriors , which he liked. 1 shot
the exteriors on Kodak 500 5245 because it is
a daylight stock that gives very nice rendition to
the shadows of the highlights. When 1 shoot
exterior day with a lot of sun , 1 have the tenden
cy to shoot back-lit α half-lit with the more
dramatic angle of the sunlight on the actors.
마ìd then 1 shot the interiors on Kodak 200T
5293 , which has a bit more grain , similar to the
stocks 1 used on Seven and which has a rawer
quality. Right from the very beginning of the
rushes , Bernardo loved the organic quality of
thefilm ’'s texture and he was surprised by that. I
have a tendency to carry two film stocks for the
same scene. 1 have a main film stock that 1
decide to use and 1 have a faster film stock that
is as c1 0se as possible to this film stock , which
allows me to have one more stop , just in case a
director asks me for more depth of field
)arius Khondji

Lucy’'5 pure and simple light-
Ig
o Hi 8 footage of Lucy lit w ith
vailable light
We chose to work with Chinese lanterns ,
because they were faster to use and wer(3 quite
appropriate for the interior locations of the
cazale. We had to cut the spill of the light a lot
so it didn ’t light the bright beige stones of the
walls. Li ghting people using a fluid camera with
a low ceiling , deep rooms , small windows and
highly coloured walls is a big 'gageure ’ or chal-
lenge for a cameraman. I lit rnostly from the out-
side with aircraft lights as used by Vittorio
Storaro . 1used a young gaffer who was his best
boy, the wonderful Stefano Marino who knew
our equipment well. Enrico Umetelli was the
camera operator and he had been Vittorio ’s reg
ular operator until Bulworth (Warren Beatty,
1998). He was an older man and was a fantas-
tic ally on the film for me. In Los Angeles there
are so many crew members on films , so many
grips and electricians , they have all the tools ,
they have everything you wan t. In Italy, however,
you don ’t have abs이 utely everything , but you
have these fantastic craftsmen that build w ith
wood. In a matter of half an hour they would
have a wooden tower built on which you can
put a dolly or a crane and you can do any shots
you wan t. They can do anything you ask them ,
even building a bridge over a small river.
Tfie difficulties ca r:n e mainly due to the fluidity of
the camera. 1knew 1could easily tell Bernardo ,
“ 1cannot do this , 1cannot do that." But 1said it
perhaps twice during the shoot , when there was
absolutely nowhere to put the lights on the
small sets ‘ But most of the time , 1said , “ Let ’s
shoot that. " Sometimes it took a hell of a löt of
time to light , because it was so difficult. The
camera was just very, very free and Bernardo
could do anything with his camera , an ability
which he had lost a bit in his previous films . 1
really wanted to give him this freshness , even if
my work took a back seat. 1naturally light in a
ceηain way, a certain contrast, a certain man-
ner, that 1don ’ t do on purpose. But in this case ,
1restrained myself from making a strong visual
statement , so Bernardo could really play
Aldo Nerone was an incredible grip to watch
working and had worked with Fellini , Visconti ,
De Santis and Giuseppe Rotunno. He was very
intuitive and would watch only the actors like an
animal and not look at any marks , just follow the
movement of the actors with the dolly. Bernardo
would cue Aldo to start moving the camera
before the actor(s) came into shot and he would
quietly say, “ Go". The dusk scene at the Donati
party and the entrance with the crane shot, took
a long time to design the order in which the
actors would come into the garden and how we
would track with them , but there was not much
lighting involved. We relied on the sunlight and
after that we went into the dusk shot. We
rehearsed it a lot and we did many takes ,
because the crane part of the shot was more
difficult to realise and 1thought that it was a per-
fectly pure Bertolucci shot. Bernardo has such a
strong pathos , such a strong soul which
strengthened the crew. You feel that your cam-
era position and each shot has a meaning. He
doesn ’t do things gratuitously, he has a real
integrity in his film-making
We wanted Lucy ’s journey to Italy to look very
modern. Bernardo was thinking of shooting on
film and transferring it to video and postproduc-
ing it. And 1told him , "Why don ’t we shoot it on
Hi 8?" We did some tests and he liked them
very much and so we shot the whole opening
with a small Hi 8 camera. 1framed her quite

11
11 The sculptural lighting on
lan Grayson (Donal McCann)

tO

12
carefully with no lights and it was shot very
quickly in a plane that Bernardo , Enrico , a few
people and 1took from Pisa to Florence.
I to/d Bernardo that 1was going to Iight Lucy dif-
ferently from anybody else in the fil m. Every time
she appears arnong the other actors , she will
have her own lighting. 1imagined her being lit
with fluorescents in a very rnodern way. She
would bring light wherever she goes and would
bring a very genuine rnodern , raw quality to this
older Tuscany, to the people living in this world
apart. It ’s not something you can achieve all the
time , but when you can , you do it and 1think it
shows. 1lit her as purely and sirnply as possible
It had to be like a tender caress , a very gentle
touch of the Iight on her. Her face didn ’ t require
any tricks of lighting or diffusion and the best way
to approach it was in a very straightforward direc
tion , close to the lens , a little bit high , very central,
very, very even and diffuse her much less than
anyone else. With Lucy, 1also put a Mitchell A in
front of the lens sometimes , whereas with other
actors 1put a very thin black net on the back of
the Cooke lenses. In contrast Donal McCann (Ian
Grayson) was caNed with lighting , his face was
Oarius Khondji
like a raw sculpture , 1would light him with a more
edgy top light α straight from half light
We were very careful in the way we lit Lucy in
the love scene , so there was nothing distracting
in the shot. We were afraid of that scene all the
way through and didn ’t know how we were
going to shoot it until the end of the schedule
Bernardo wanted a certain quality of light and
he didn ’ t know how we were going to achieve
that in the time we had. We started at the end
of the day and 1started lighting it with China 13
12 Liv Tyler. Ignazio Oliva
Ii ghts balanced for really warm , but directional
(05valdo Donati) and Khondji
180 or 200 Kelvin light , justified by the fire. We with pan gla55, between take5
did it in a very spontaneous way and 1lit it
13 Lucy lit 5imply with warm
intuitively from seeing Bernardo rehearsing with 。 range light “ We were very
the actors and I was given a free hand to light careful in the way we lit her, S。
because he was concentrating on the actors there was nothing distractive in
the 5ho t."
When we got into close-up of Lucy losing her
virginity, I lit it very simply with a warm orange
ligh t, which is always for me the colour of pas-
sion. The shot by itself was special , but its light-
ing was paη of the look of the whole scene and
Bernardo found the way we lit the sequence
very courageous and coming from him , it was a
great compliment for us.
Darius Khondji

4 6
3 Nigel Phelps’ detailed draw
ing of the Auriga ’ s haliways
4-5 The hallways with integra l
lighting fixtures
6 Colour polaroid from Kh ond
annotated screenplay,
JI’'5
showing detail o f hallway with
under-lit crating
photograph her as we had done with actors in
City of Lost Children. We had to compromise a
little bit on the size of the wide-angle lenses , but
we still shot very wide. Sigourney had some say
。ve r the film as executive producer and she was
very careful about the way she looked. I lit her
with a ring light , like a newborn creature , and I lit
her very evenly, very softly, with a little bit of sheen
。n her face as if her skin was completely made of
plastic. She was very inspiring and a fascinating
actress to photograph.
I wanted the spaceship to look darker, gri야ier and
dirtier than they usually do. Even though we were
on a large set , it was not big enough to do differ
ent sections of the spaceship at different times.
For instance , there was a certain hallway which
had to be real ly bright , luminous and lit in a high
key. Then you go to a lower floor where it is dark
er, grungier and more dangerous. We had an
enormous amount of light entries in a dimmer box
in a room beside the set with dimmer boards ,
which would control the lighting of the sets. The
 Darius Khondji

7 Ripley (Sigourney Weaver) guy in the dimmer room was like an engineer
runs to the Betty bathed in red
light and Ilanked by blue
pianist and everything was meticulously record-
chaser lights ed. He had the detailed storyboard and all
scene information and I would communicate
8-9 Phelps' detailed plans lor
the corridor practicallights
with him via walkie-talkie with my gaffer.

鍵購體뿔龜 The big challenge was to make spaceship hall-

ways look different. We had panels of crating
on the hallways floors with different diffusions of
very heavy 129 or 21 6 frost paper on the lights
Underneath these , there were strong , bright
lights on dimmers. I first wanted to use Kinos in
the crates , but it was going to be much more
. expensive anø less versatile and we would have
had less flexibility of changing the look. Instead I
used the Kinos for certain areas and when
adding lights on se t. Throughout all the space
ship , we designed the lights into the shell of the
hallways. I told Nigel Phelps [production designer],
8

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Oari us Khondji
“ 1would love to have the ability of lighting from
on top and under the crates all the way along
To light from arches all the way along and have
different practicals that go off when there is an
alarm , red lights , chaser lights that are includ-
ed ... " We also added some Parcans with red
gel on them to pump up the lights or HMls with
green , blue or deep red gels on them which
would come out on the faces. Keeping lights
out of frame was a big challenge with the use of
wide-angle lenses. The actual lighting of the
spaceship was mostly done with regular soft or
hard tungsten units through layers of paper and
layers of crates. Eighty percent of the lighting of
Alien Resurrection was built into the sets.
We had many meetings about lighting effects ,
before we started shooting with Jean-Pierre
The big thing was how we were going to
achieve new special effects lighting on this film ,
such as the blue chaser lights. We also added
stroboscopic effects and rented lights that flick-
ered . 1had to make sure 1had the right expo-
깨i프월뜸흩
칩 -펠l
sures for these very bright images. In the end , 1
didn 't have to expose for them so differently, but
1had to place them and tune them according to
my exposure. The exposure 1had on Alien Res-
urrection was the same all the way through , f .. .
‘--
2.8 α 1/3 under this , although the fi lm does
seem over lit to me.
10-11 Khondji used vegetable
My idea of the alien was 10 make it almost an 。 i l to slick down the
oily part of the ship , coming out of its structure troglodytes in Delicatessen ,
for th e aliens he used gener-
to kil l. 1set up a cage of octagonally shaped
。 us amounts of Methyl
Kino lights around the aliens to reflect back light Cellulose
onto them ‘ 1would place one under the camera
and some on the sides or attached to the cam-
era if we tracked. 1always wanted the aliens
wetter, more shiny and they were wetted down
with Methyl Cellulose. 1found a similar thing with
 Darius Khondji

12 Call
(V이 n o n a Ryder) and the troglodytes in Oelicafessen which 1treated
swimundefWater in the
R i에ey
submerged kitchenscene with gallons of vegetable oil prompting me to
say, “ 11 faut les huiler a mort" “ We have to 이
13 Stairwell/Kitchen them to death."
underwater storyboards

We were underwater 12-13 hours a day for 2-3

weeks for the submerged kitchen scene. It was
totally exhausting and sometimes it was dan-
gerous. It was also very exciting to do it ,
because it was all new to me. 1operated B-
Camera all the time weighted down in a corner
with my tank and second body and Jean-Pierre
seemed so excited by the shots 1was getting
Sometimes 1would say, “ Are you sure of what 1
12 am doing , because 1am shooting all the time?
Are you going to cut this into it?" He said ,
“ Yeah , it ’s really good , 1am going to use all your
shots. " Peter Romano , the vi야 uoso of underwa-
ter cinematography, was on A-Camera and we
Under water visibility is bad
used two Arri II I's w ith hydroflex housing and
Zeiss lenses. Now, 1don ’ t even remember
which shots are mine. Le t's say that the main
tracking shots are Peter ’'s , he is a genius at
tracking with the hand-held camera with his
The crew moves slowly 10 the kitchen fins , and most of the static shots are mine. We
shot a lot with 18 mm α 25 mm rarely having
to change the lens unde r:wateι We seldom
used the 32 mm because the glass you use
together w ith the dome or flat lens port can
make it look like a longer lens. We calibrated
the lens underwater beforehand because every-
It is so big that visibility is even more Ii mited.Wren thing appears 1/ 3 closer
moves off toward the other end of the room
The water tank was fairly sizeable and was built
into the stage for us. The kitchen was a danger-
ous area to move around in because there were
some sharp edges exposed. The clarity of the
water had to be checked , recleaned and recy-
cled all the .time , so it was not too dirty. Some-
They rou nd a corner. Still 5 yards to go to safety
times we added milk to the water to make it a
little bit milkier because if it looks too pristine ,
too clear, you see too much . The actors pre
pared for a long time and had many sessions of
underwater training and Sigourney learned ve이
quickly. Winona Ryder didn ’t like the water at
the beginning and then she took to it very well ,
Johner glances around neNously. He turns around but we were always afraid for her and were
suddenly
careful that she didn ’ t get hurt. We took great
care lighting the actors ’ faces in the water. We
/ lit them with the first underwater Kino-Flos built
by Peter. We didn ’t like the bubbles that stuck
to their faces in the underwater close-ups , so
we had to erase them digitally. We lit the sub
Two aliens are after them , undulating their tails as merged kitchen scene from above with Parcans
they come with green gels on them. 1really wanted to
6
make it look a painterly green , although the
underwater colour range tends towards the
blue. We discovered while shooting that we did-
n ’t need so much fill ligh t, we only had to light
carefully w hen we had a close-up. Top Ii ght was
also very effective underwater.
13
Darius Khondji
The Beach Suddenly there was a row of big waves in the
middle of the lagoon . My camera assistant and
2000 the marine security official were in a small
actors' boat that was roped up to our main
camera boat. Their rope snapped immediately
Director and they disappeared into the waves and we
thought they were dead. Our camera boat took
Danny Boyle the same path into these big waves and we
Cinematographer started to sink. We began to distribute the life
jackets to the crew and at the moment 1realised
camera operator that 1didn ’t have one , 1was catapulted out of
Darius Khondji the boat. In a split second 1found myself in the
middle of the water, already 30-40 ft from the
Underwater director boat. 1had no life jacket and 1saw the end. A
of photography few people were in the water and the wonderful
stills photographer, Peter Mountain with whom 1
Mike Valentine had worked on my previous movie , The Ninth
Focus puller Gate (Roman Polanski , 1999) , swam towards
me w ith this big floating sealed box , which con-
Graham Hall tained filmed stock and it was that which saved
me. My first thought was that 1was in really bad
Gaffer shape and then 1swam like mad to the boat. 1
Alex Scott was thrown a life jacket and 1hung onto it ,
scratching myself everywhere.
Key grip
Gary Pocock At the moment 1got back onto the boat, some-
body shouted , "Everybody abandon the boat ,
Production designer we are going to sink. " So everybody started
Andrew McAlpine evacuating and 1jumped out into the water
again , but this time with a life jacket. In the boat
was another camera assistant holding the cam
era with Danny Boyle , Leonardo DiCaprio and
some of the girls. Leonardo was saying , “ Don ’t
worry, don ’t worry we won ’ t sink. " Security jet
boats tried to come closer, but they couldn ’ t ,
because the waves were so dangerous. Fortu-
nately nobody drowned. One of my camera
assistants saved the camera and we washed
the salt water off it immediately. We lost some
equipment in the sea , 1lost a colour meter and
a light meter. We sent the footage to the lab
and it was good , nothing was damaged ‘ That
was it for that day, but the following day we
were shooting with the main camera and we
had to come back and fin ish that scene , which
was quite scary.
Andrew Macdonald [producer] had so much
hardship with the environmental protesters on
The Beach . The Thai environmentalists gave us
a hard time for political reasons and financial
gain , which affected the start date of the pro-
duction a little bi t. We were quite anxious to get
the beach scenes over with as soon as possi-
ble , so we wouldn ’ t have any problems if they
came back at us and stopped us from shooting
there. We had an environmental consultant from
New Zealand who advised us during the film

4
1 Danny 8。이 e and Khondji
setting up a shot on The
8each
2 Part 01 the Apocalypse
Now sequence that Richard
(Leonardn DiCaprio) sees in
his 8angkok hoste l. Khondji
looked at Coppola's
masterpiece in preparation
’or The Beach
and the art department was very ecologically
aware. We did nothing to harm the place , we
cleaned and irrigated the beach and we planted
the palm trees carefully
In preparation Danny showed me Lord of the
Flies (Peter Brook , 1963) and we both looked at
Oeliverance (John Boorman , 1972) for the use
of green. We also looked at The Piano (Jane
Campion , 1993), Apocalypse Now (Francis Ford
Coppola , 1979) and we even looked at Platoon
(Oliver Stone , 1986) , to see how other film-mak
ers had dealt with green in the jungle. 1 found
that 1 didn ’t have to fight so much with the
green and for the last 6-7 years 1 have started to
like it , so it was quite exciting for me to shoot in
the jungle. It is also difficult to shoot and 'know
where to expose exactly under a canopy of
trees , because all your highlights are burnt out
Previously in my work 1 had had to fight daylight
and sunligh t. 1 decided on this film 1 would not
fight it , 1 would try to treat sunlight with more
humour, more fun and accept it as it is and say,
“ Oh God , the sun has gone , let ’'s find another
way to do it , but just move along and continue
shooting. " 1 really had a dilemma , because 1 was
thinking of using Fuji for the exterior day and 1
ended up using Eastman. 1 used Kodak 100T
3 The beach set with specially
planted palm trees
4 A 12 ft x 12 It silk Irame
5 A 12 It x 12 It Rosco scrim
frame wÎth its silver side used
to reflect more light
Darius Khondji
5248 for the overcast days and even pushed it
one stop to make it more contrasty if 1 wanted
n끼ore dramatic fill light. This saturated the colour
and even enhanced the black more. You don ’ t
really need to do it when you use ENR , but on
an overcast day, it gives a very nice raw quality.
In the exterior daylight scenes , 1 used big frames
to bounce the light back and 1 used big black
frames to negative fill more , to give more con
trast to the scenes. 1 am always a little bit afraid
of too much sun , but on The Beach , 1 wanted
the sun to feel cruel and harsh.
Thanks to Danny Boyle 1 was operating again. 1
felt very rusty on the first week , but Danny
encouraged me a lot. Danny and 1 wanted to
handle the framing together and he is an incred-
ible director to watch work. He is careful about
who he gives trust to , but when he does , he
trusts you absolutely. He always sat beside the
lens watching the actors and he didn ’t use-the
Video Assist very much. The Beach was my
second feature back to back with the Cooke
Series 4 lenses. My first project with the S 4
was the Frozen video for Madonna and 1 think
that was the first time they were ever used.
Then we did The Ninth Gate with the S 4s in
Super-35.
Oarius Khondji
6 One of the China Balls used
in the village location. Gaffer
Alex Scott had these made Up
in Thailand and had silks sewn
to fit each frame
7 The rain rig used during
Richard ’ s shark hunt
9
8-9 Khondji took his inspiration
for The Beach ’5 fi reside
scenes from the twilight scene
in Easy Rid er (1969)
10 Richard ’ s dramatic lighting
in the shack scene
10
For the first time , 1 was not sure 1 wanted to use
ENR. 1 prepared a little bit for it, but 1 was not
sure whether it was going to make the picture
too heavy for the audience , too dramatic , to。
contrasty. Once Danny saw the ENR , he was
seduced by the process , which made the
images look stronger and enhanced the drama ,
so we decided to print on ENR . We had to be
careful when using ENR on very sunny days
and it is not the ideal process for the sunny
exteriors of Phuket. But there is not so much
you can do and in the end you just have to 9。
for it. Overall we had to enhance some scenes
digitally in terms of green and blue , that were
drained out by the ENR.
In my quest to do more organic work on The
Beach , my ideal would have been to light the
whole beach community with only natural light
and fire and not use any electric light at all. And
that ’s what 1 did for the night shoots , 1 mostly lit
the actors with fire bars , so the effects people
were really my electricians on that and Alex
Scott[ga什er] and 1 worked with them very
closel y. 1 let the fire play a little bit loosely, some-
times there was too much light , sometimes it
was too dark , but that is how fires are naturall y. 1
had very little light and just a few China bulbs in
the village. 1 used the new fast stock , the Kodak
800T 5289 for the night scenes which 1 found to
be a bit grainy, but it gave a very fragile quality
and a kind of reportage look. 1 wanted the
scenes to have the same kind of quality as the
sequence in Easy Rider (Dennis Hopper, 1969)
when Billy (Dennis Hopper) , Wyatt (Peter Fonda)
and George Hanson (Jack Nicholson) arrive at
the beach , they make a fire and it's twilight
1 always look at three of four films of each main
star 1 photograph. So 1 looked at Leonardo in
Titanic (James Cameron , 1997), What 's Eating
Gilbert Grape? (Lasse Hallstrom , 1993) and The
Ouick and the Oead (Sam Raimi , 1995) and
other different movies he had done previously.
The dramatic curve of Leonard。’'s lighting was
achieved a lot with the costume and the make
up. 1 lit him softly, like a beautifullooking kid at
the beginning of the film and 1 lit him more dra
matically with a more raw quality towards the
end of the story, when he becomes more con-
trasty and less directly photogenic. The last
scenes in the jungle , hotel and his return to the
shack were contrastier in terms of the colours ,
red , blue or green. But it was also achieved by
a combination of hair and make-up , damaging
his face with wounds and the way he was act-
ing. We destroyed his eye a little bit , by creating
a fake sore , he has a bruise and he was diπier
1 tried to achieve the gritty urban feel of the
arrival of Richard (Leonardo DiCaprio) into
Bangkok with a mixture of Kinos with red ,

green , blue gels and some real fluorescents that
were all over the place in terms of colour. 1
mixed a lot of colours and 1did some tests at
night with opening the stop and overexposing.
Normally, 1like to have the opacity of the city at
night and play with the darkness to the eye.
However, after we had scouted the locations
and 1had hung out at night in different places
with Danny, 1felt that everything was blown out ,
the lights were vibrating , there were fluorescents
everywhere with little shops blasting Kino lights
and from all different ambiences. There were
some lights that were very weak and very poor
in some areas which 1wanted to emanate , not
to reproduce them exactly, but to push them
even further. 1overexposed all the night exteri
ors , 1opened up the stop and 1let the neon
bum out really brigh t. Instead of closing down
and taming everything and making everything
really sweet , nice and beautiful , like 1would nor-
mally do for another project , here 1opened it up
for gri t. To make the Kinos more gritty, 1put
them in front of the camera , inside the fixtures. 1
added green to some of them and 1opened the
stops so they burnt ou t. The lights were bleed-
ing everywhere. It was alrnost too bright , grainy,
ugly and aggressive. That ’s how Danny told me
C비 lisation should look like after Richard and Sal
(Tilda Swinton) return for the rice run
The underwater kiss between Richard and Fran
coise (Virginie Ledoyen) was far different from
the underwater bathroom kiss in Delicatessen
between Louison (Dominique Pinon) and Julie
(Marie-Laure Dougnac). 1wanted to make it look
13
Darius Khondji
marvellous and airy and to add some green t。 11-12 The con1rasting under
wa ter kÎsses from Th e 8each
the blue and make it dark and green. Dark with and Delicatessen
the rocks , non lit areas and bright in the dis-
tance and brighter in the foreg round. 1wanted 13 Some of the coloured
fluorescent tubes used in the
to give some depth to the underwater lighting of Bangkok street scenes
this and Mike Valentine [underwater director of
photography] did the rest. Firstly 1pre-lit the
tank at night to create this nice contrast and
then 1de-lighted , turning off lights according t。
my eye , which is one of the best processes if
you want to light well. If you build up lighting
from A to Z you can make mistakes because
you tend to light too much. We had a big crane
with a weighty light box made of big diffused
tungsten lights providing a moonlight effect. The
electrician stretched ωt the arm a little bit to。
much when we started to move the crane and 1
said to my gaffer, “ Don ’t move the crane above
the water when the light is on . Please ask them
to save the light and move the crane." So they
turned off the lights and started moving the
crane. 1was talking to Peter Mountain in the
tank and suddenly we felt this crane coming
closer and closer. 1said , “ Why are they bringing
it so low?" The light came slowly crashing down
to just where 1was , but Peter had time to pull
me out before it crushed me. The light crashed
on the video monitor and my gaffer got
scraped , his shirt was torn but he had time to
tell everybody to leave. Everyone left the tank
and the light crashed onto the video station. It
was very, very scary and it was Peter who
saved me once again. 1just received an e-mail
from him in which he wrote , the only place I
don ’t want to meet you is on a plane!
14
14 Richard surrounded by
gritty urban lighting on his
arrival in Bangko k
I Darius Khondji

Anything Else
2003

Director
Woody Allen
Cinematographer
Oarius Khondji
Camera operator
Michael Green
Steadicam
Stephen Consentino
Focus puller
Oavid E. Barron
Gaffer
Scott. H. Ramsey
Key grip
Gary Martone
Production designer
Santo Loquasto

1never expected to photograph a Woody Allen
film in my career although 1am a big fan of his
fi lms like Manhattan (1979). Annie Ha /l (1977)
and Zelig (1983).1 was called by my agent who
told me that Woody wanted to talk to me , he
had a project , but it was coming very soon ,
much sooner than 1would ever want to do a
film without any preparation. Woody called me
in Paris and we had a very long and interesting
conversation and the following moming 1was
flying to New York to meet with him and to prep
right away. The beginning of the shoot went
fairly well , 1just had a moment where 1had to
adapt to a new world , but somehow it was not
as difficult as 1thought , because when you are
in New York you are already half way int。
Woody Allen ’'s world. He haunts New York , he ’s
everywhere , in every corner in the Upper East
Side and Upper West Side
1did feel under pressure to capture this New
York imagery, but 1thought 1shouldn ’t think
about it , 1shouldn ’t feel it. 1decided 1didn ’t
want to feel impressed by the immensity of the
work of this iconic film director, 1just wanted to
start collaborating in my own way and get into
the film. 1didn ’t know Woody, so 1was still very
shy with him and he ’'s sort of shy in his own
way, but he ’'s immensely generous and collabo-
rative when you talk to him and when he starts
to share ideas. From very early on , 1felt the
presence of the great cinematographers he had
worked with and it was quite incredible to hear
his reflections , the way he would talk about the
set , where to photograph , what background
and what street. You could feel the incredible
partnership he must have had with Gordon
Willis especially. Of course 1’m an admirer of
Sven Nykvist and Carlo di Palma , but Gordon
Willis was very important for me and still is.
Every time 1watch any of Gordon ’s films it ’sa
major modern thing for me in photography and
he’'s always there in everything 1do
The image 1had of Anything E/se was of two
men walking in the city talking and 1wanted the
presence of New York wrapping around them
like a third character. Whether they were alone
。 r two in the city, 1just wanted that scope
behind them and 1wanted to bring some
anamorphic glamour into the comedy. 1wanted
to counter-use the anamorphic and bring it into
an intimate story and Woody thought it was very
interesting. He ’ d never thought he would do this
film in true anamorphic. He talked to Santo
Loquasto [production designer] about it, we
were all together and they looked at each other,
smiled and said , “ Yes , why not?"
Shooting in sunny exteriors was a force
majeure! Neither Woody nor 1love sunny days
in exteriors in the city. We both love overcast
weather and we could have done the whole
fi lm with a silver dark grey weather α white
sky and would have been perfectly happy. We
waited a little bit for it , but Woody felt he could-
n ’t wait as much as he would have liked on our
small budget. We protected ourselves by shoot-
ing in the shade , the background in the sun or
back lighting. Exteriors were shot on Kodak
100T 5248 which is a very classic Kodak film
stock , which has been around for almost fifteen
years. It ’'s the Kodak stock that replaced the
mythical Kodak 100T 5247 Rochester stock of
the 70s.
My big fear was how we were going to render
the dialogue scenes on the screen because the
characters talk all the time. But strangely
enough , 1was not fearing it as much as when 1
was with other directors , because very early on 1

1-3 Khondji on location in New
York with Woody Allen “ Sud-
denly I was doing a
psychological comedy and
that opened a totally new
window for me."
saw that Woody wanted to do plan séquence
as much as possible. He was not at all afraid of
keeping the action in one shot. Most film direc-
tors fear that the scene cannot hold in one shot ,
it ’'s going to be boring , you have to cut around
and cut in close-ups. My experience with some
of the m예 or film directors 1’ ve worked with ,
especially Bernardo Bertolucci and Woody
Allen , is that they don ’ t like covering much in big
dialogue scenes , they just do them in plan
séquence. For instance , Dobel 0Noody Allen)
and Falk (Jason Biggs) are sitting in the park
and the camera goes round the m. We start on
Woody ’s side , raking a two shot and instead of
going master - over shoulder and then over
shoulder, we decided to go round them on a
circular track , just covering the scene. Or they
come in from a distance in the park and come
closer and sit on a bench very near the camera
In another scene when they ’ re walking in the
street, we would do a master of the whole gen-
eral ambience when they ’ re walking towards the
camera and then w~ would be covering it over
shoulder from one direction to the other while
tracking. Then we would shoot from the back
and there would be a two shot on the side.
Woody would do a track where we started
wider and as we track the actors come into a
close-up as we keep the same distance and
then they exit frame.
The character of Dobel was a very shady, con-
trasty character and 1loved the idea that Woody
wanted to make him always in a darker area or
background of the park. He ’s a paranoid char-
acter and initially he was a character that als。
appeared in a surrealistic way. He would some-
times appear and talk to Falk then disappear
almost like a ghost, but Woody took this out of
the film. Woody would take time to set Up , but
mostly he knew what he wanted from the
scene. He never says where he wants the cam-
era , but he lets you be very free in shooting it
He would always place himself in the direction
where he thinks he should shoot the actors ,
have the actors rehearse and then we would
adapt it , set Up the camera and block it. He
loves to shoot a scene in one shot as much as
possible. He doesn ’t like to cover with close-
ups , he likes the camera to start with the master
and get closer to the actors and ultimately get in
close enough so we can appreciate what
they ’ re talking about and who they are. It was
quite di에cult for me shooting plan séquence in
the interiors , because we had very small loca-
tions and sets and he wanted to turn the cam-
era around using anamorphic Cinema8cope
We were stuck sometimes with the anamorphic
lenses because Woody wanted to be wider, big-
ger. He ’'s used to 1.85:1, so he was sometimes
quite troubled by the format. Although he had
Darius Khondji
loved the experience of shooting Manhattan in
Cinemascope , he wished that we were a bit
looser. With anamorphic , it ’'s good to track or to
shoot static , but if you pan you need a big room
and not too wide lenses because they deform
But at some point 1freed myself , 1decided let ’s
go for it, let ’s really move the camera around
and follow the actors and then Woody felt very
happy and very free. From that moment 1think
he felt 1was really with him and understood
what he wanted. 1was using Kodak 320T 5277
in the apartment interiors , it is a soft film nega
tive with very fine grain and 1was using an old
set of C 8eries lenses. They have a more 70s
feel and they have a flaring quality when you
deal with nights. 1feel they are the closest to the
Cooke lenses that 1love
Production designers know me now for adding
practicals in scenes. 1’ m very demanding in
what 1term ‘ points of light’ 1put points of
light even in day scenes without electrical light
1always feel that there are darker corners in
day scenes where it ’s interesting to have
practicals for colour contrast with cooler
dayligh t. The problem 1had with Woody ’'sfilm
is that he wants the images to be made up of
warm golden and red tones. 1like it too , but
he likes it even more. 80 when you have day
light scenes with warm 10아<:ing practicals for
colour contrast , they don ’t help because the
daylight has already a warm spectrum. But if
you take any day interior scene in Anything Else ,
you will still find the light on , because in some
areas of the apartment it is nice to generate
artificial light with the warmer spectrum . You can
then underexpose the people , you don ’t have
to keep the people on key light , on the proper
exposure and can have brighter areas in the
background
We tried laboratory processes on the film , but 1
felt Woody was not comfortable with them. Nor
πlall y he just flashes the film , colour tones it
together, but in this case he wanted me grading
the fi lm with him. Usually he finds colour nega
tive too contrasty. However, the nice thing about
the 5277 is that it has a very slow colour con-
trast on the gamma curve , it ’'s very soft , it ’'s not
steep at all and so 1think he was happy with it
When 1first met Woody, one of the initial things
he told me was , "Darius , don ’ t be offended if 1
re-shoot scenes , 1must re-shoot scenes for the
actors , for the set , for the costumes , but 1might
as well re-shoot for the lighting , for the way it
looks if 1think things are not proper to what 1
wanted ." And we didn ’t do much re-shooting. 1
was scared of those re-shoots because 1’m
always afraid whether 1will get it righ t. But every
time we re-shot anything 1always managed to
be happier the second time , so he was right
John Mathieson
Love is the Devil
1998
Director
John Maybury
Cinematographer
camera operator
John Mathieson
Focus puller
Keith McNamara
Gaffer
Richard Barber
Key grip
Rupert Ll oyd-Parry
Productio rJ designer
We were incredibly restricted for money on Love
Alan Macdonald is the Oevil and were only allowed to shoot
2 ,000 ft of film a day. The film was made for
less than a million dollars , everything was
LEE Filters planned meticulously and it took about two
」
213 days to go through abs이 utely everything
WHITE FLAME GREEN
beforehand. Since we ’ d been working together
• for so long [John Maybury - director and Alan
Macdonald - production designer and John
l
Mathieson]. it was quite a fast process , but very
exhausting. By the end of that stage , 1 knew
exactly what we were going to do and the
whole film was key-framed and a preliminary
sketch was prepared to give a starting point for
each scene . We went out and did everything
we said we were going to do and used a lot of
10。
β0.6 0%) the stuff we ’ d been doing in low-budget music
videos that we knew worked. We didn ’t have
Il
’ time or the luxury to do tests , we just jumped in
and did it
LEE Filters
‘ 21 2
Alan Macdonald used Bacon colours through
t L. C.T. YELLOW
’
out the film and nothing was brightly coloured.
There were reds , but they were always di 띠，
deep , blood-liver reds and there were whites ,
but they were always bone whites and there
were sallow, yellow colours . We used some old
correction gels that people no longer use to
correct the lamps to strange temperatures ,
which had a very odd hue to them if you put
them in front of a normal ligh t. We used some
old brute magenta correction and Lee fluores
cent green super white flames which shift HMls
to a colour temperature of 550-6000 Kelvin
1 A selection of the old Lee They were still manufactured by Lee , but were
correction gels from “ the back really in the back of the swatch book and were
。 f the swatch book " including
White Flame Green and
generally used to correct things technically. If
Cosmetic Silver Moss you use them against themselves or double
. .μ
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them up , they could slide a film into a rather
nasty looking area of the spectrum. We used
quite a lot of Cosmetic Silver Moss which looks
green , but when you light through it, it comes
out a soπ of warm , dirty yellow. We always had
something on something and if you put a lot of
diffusion gels in front of a tungsten light , it will
warm up slightly and it can start looking quite
pretty. A lot of the lighting in the Bacon film is
soft and flat, which can look quite boring and
few people do it well, but if you gave it a colour,
it had a pond-like effect. It was a low contrasty,
sludgy-Iooking negative at the end of it all.
We used an Arriflex 535B which is an easy
camera to look through. Principally we used
Kodak 500T 5279 which gave us the speed for
the Boroscope used in Bacon ’'s squalid ,
tobacco-stained studio. The Boroscope starts
at about an f-8 or f-5.6 , looks funky at around
f-5.6 and looks good at around f-11. 1 had used
it before to do incredible close-up work , but 1
noticed that it looked very good when com-
bined with wide shots. because it became
vignetted. If we used it as a wide lens , tracked
with it and flew between things , it had this very
strong compositional quality. The centre was
very well illuminated and focused , but the edges
fell away and t1îe lens had a nasty yellow-green
feel to it. You don ’t really notice it, if you are
doing macrophotography, because whatever
you are photographing is so enormous in the
frame. Then it becomes a surreal image in itself
as you are so unused to seeing something that
close. It was used in Bacon ’'s studio , going in
and out of his watch and eye.
For the Colony Room , we used swing and tilt

2 깨 e 8acon studio se t. " Alan
Macdonald rebuilt that set
because we weren ’ t given
access to it, he got through
the Reece Mews studio letter
box with a mirror and worked
。 ff old documentaries and he
got that thing so righ t. "
3 Materials including colour
polaroids 01 Isabel Rawthorne
(Anne Lambton) and the Bacon
studio set; studio set diagram
and 8acon ’'s actual studi。
4 Storyboard showing the
effects 01 shooting through
glass on Colony Room
regulars
F픔올옆-"‘’
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John Mathieson
5 John Deakin (Karl Johnson)
and Muriel Belcher (li lda
S삐 nton) dist。이 ed by the
glass
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6 Tracking towards Francis
Bacon (Derek Jacobi) on the
8oroscope lens
7 5t。깨 boards 01 George Dyer
breaking into the studio and
meeting Bacon “ We lilmed
this sequence through a Sinar
plate camera on slow frame
speecs ,"
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lenses and lots of odd bits of glass and things will provide you with distorted Bacon-type blobs
that 1had amassed. John Maybury likes distort- and shapes. We did have Video Assist and
ing images , so nearer the time , we collected could see what we were getting through the
ashtrays and all sorts of bits of glass. Alan camera and even though these images were
Macdonald is particularly good at finding stuff , soft and very distorted , we hoped the audience
hewon ’t just look at it , he ’ 11 pick it Up and peer would work out which blob α which creature
through it. The look of the Colony Room was with two eyes and no chin and mouth corre-
achieved with a combination of filming through sponded to which character. It was a way of
the glass and also into flexible mirrored Perspex introducing the drunken , thick heaviness of the
that is more often used in postproduction to fill Colony Room and then later on , when the char-
in greenscreens. It ’'s like a fairground mirror with acters were drunker or partying and were hung
a very polished Perspex side. If you screw it and over, we used oversized wine glasses together
stick it in a certain way on an uneven surface , it with swing and tilt lenses which were very good
John Mathieson

8 Picture negative report 10 One 01 Alan Macdonald’s

including details 01 Varicon prepat。이 sketches lor Dyer’ s
testing and drug bust scene hallucinations

9 Colour polaroid 01 Dyer 11 Eadweard Muybridge stills

(Daniel Craig) used as visual props in the
Bacon studio set

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8

11

at achieving that drunken effect , because you
can distort the image by making people ’'s heads
bulge and the sides of the frame fall away into
darkness ,
I don ’t think Love is the Oevil was a film about
an artist. It was a film about a very awkward
male relationship , The performances are at its
core and 1don ’t think the lighting and camera-
work should ever detract from a story, but 1
found out that by looking at Bacon ’'s paintings ,
a lot of them had photographic elements , His
references , which lay about in abundance , were
Eadweard Muybridge , I\lational Geographic , Life
10
Magazine and its war coverage , for example
images from Vietnam. You soon realise that
much of that smudgy Bacon look is motion blur
which can be achieved cinematographically
with slow shutter speeds , With the Arriflex 435 ,
it was also easy to disconnect the shutter from
the πlovement， so the fi lm can still be pulled
through and registered . People tend to just
leave a fraction of the shutter in so they can still
see through a bit , but we did it in the dark , As
you disconnect the shutter you lose the ability to
see through the camera , even with Video Assist
The camera ’'s turning quite slowly and you get
this effect similar to Bacon ’s Study after

12
Velázquez ’ Portrait of Pope Innocent X (1953). In
the painting , Innocent X sits in his chair or rather
he ’'s hanging onto it , white-knuckling it. It ’sa
dark painting on a black background , all the
highlights have been tom up and down and the
top of his head has gone. It was an effect we
thought we could achieve by disconnecting the
shutter. If you don ’t highlight it , if you don ’t light
it properly the camera even without the shutter
provides you with remarkably stable images. So
to interrupt them a bit more , we made our own
shutter which was a piece of cardboard on a
domestic drill that was perfected over time ,
which used to whack people ’s
John Mathieson
13
\~二잃
14 15
12 Bacon ’5 Study after
Velázquez’ p。끼 rait 01 Pope
Innocent X (1953)
13 Dyer in photo booth
14-15 Sketches lor the card
board shutter attached to a
domestic drill
fingers because we ’ d rev it up and down in
front of the lens. If you kept it running normally,
the image would become stable and normal
again , even though it was quite odd . We did
shoot tests on it , but we found that by increas-
ing and decreasing its speed and by moving it
away from the lens , thereby opening the shutter
totally and also ramping the camera up and
down on a variable motor not compensated for
by the stop , then double exposing it , something
would be alrigh t. If you do something like that,
you ’ ve got so many variables going on that
someone ’'s going to be happy with one of
the results.
 John Mathieson

Gladiator Shooting Gladiator was like a battering , being
battered the w hole time by people and things.
2000 At the beginning 1would catch myself nodding
off in bed at night , answering questions with ,
‘’ Put that over there!" "No , three of those!" “ No ,
Director 1'11 call when 1’m ready." “ Yes , f-5 .6. " “ No , we ’ 11
Ridley Scott ‘
do that tomorrow." But they weren ’t really
succinct q uestions and 1thought , what are you
Cinematographer doing? This is mad . It amused me more than
worried me. 1was just answering questions , it
John Mathieson was purely logistical
Camera operators
Ridley Scott does very well on controlled chaos ‘
Peter Taylor Apparently, 1’m quite calm and Ridley gets on
Klemens Becker with me and thinks 1can do it , but 1hate it , 1like
to plot it all ou t. The crew like that too , they pre-
fer to know what they ’ re going to do , they want
to get ahead of the game and they like to have
things ready. Gladiator was horrible because
they were always taking stuff up , pulling it down
and sometimes never getting to it. 1’d make
them do stuff anyway, on a ‘ just in case basis '
and by the end it was fine. But for the first few
times , you 're asking crew to make a superhu
man effort and then you don ’ t get to the scene.
One of the things that really helped me on
Gladiator and which made me so quick was
that 1didn 't use top light and back light in the
rig , even though a lot of the sets were rigged
。 ut for me. 1worked from the floor, which allows

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Klemens Becker
Focus puller
Ashley Bond (UK)
Tim Fleming (Malta)
Gaffers
Oaniele Botteselle ,lN í
Y'o Ul
Roger Lowe \S
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Key grip
Oavid Appleby
Production designer /h.L. L...-‘ P,5 "'"‘ D I'" 시아S

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1 Li ghti ng diagram for the

l1 eeting between Maximus
3nd Marcus Au relius in th e
~mp ero r’ s tent

2 Marcus Aurelius (Richard

Harris) writes by ca ndlelight
2
 John Mathieson

3 Germania ba ttlefield you to work more quickly, you don ’ t have to get
location map
people on ladders with security ropes and clear
4 Access an d parkìng Înforma- people OU t.
tÎon for actors, crew, c rowd
and horses requìred for the
Germania battle scene
1knew Gladiator was coming for a long time
and what 1wanted to do. 1knew what the story
5 M arcus Aurelius (Alec was , but we only got a complete script one
Guinness) comprehensively lit
by torchlight in The Fall 01 the week before we ñ세shed shooting. 80 you ’ ve
Roman Empire (Anthony got nci script , therefore no schedule , no pre
Mann , 1964)
ligh t. We were aware of this big exterior battle ,
and the Roman camp interior and exterior was
actually in situ. 1do remember thinking , what
the hell are we doing here? It wasn ’t like a tradi-
tional shoot w here the interiors are shot in
studios. There was a real tent , in a real field
surrounded by mud and fi lth. This was shot in
Farnham [8urrey, U 씨 right in the middle of
winter, in the middle of nowhere. Fortunately we
had very bad weather and that low, watery,
Turner-esque winter sun trying to penetrate
cloud in the distance , never quite breaking
through , was perfec t. But if we didn ’t have the
lines , we ’ d go outside and bash a few more
Romans. If we did have some lines , we’ dg 。
into the tents and shoot a scene.

The schedule really depended wholehearte.dly

on the script and sometimes we were CryiAg for
pages. We never re-shot anything , but we went
back to scenes three times , because things
kept on being added , which is a nuisance. This
took its toll on the actors and the crew ,
because you wrap stuff and then you have to
pull it all out and try and replicate a scene in
which you might have used this 5K , various
dimmers , there ’s half a gel hanging over there , a
bit of leaf in front of there , someone ’'s silk scarf
hanging over that and it's just madness. 1try to
make notes , but it ’s quite difficult to get it back ,
뼈

especially with candlelit scenes. It ’s not like it ’s

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씨

C =<ll!lOY
with , “ Oh that blew up John , that one just finally
gave up on uS." 80 you ’ 11 get something else ,
but it's not as good

We tried to use thick wicks for the candles , but

candles only burn so brigh t. Then you have to
get in and hide the source and try and cross
from over the candle to the subject to make the
light look as though it ’'s coming from that direc
tion. This was one of the reasons for shooting
on 8uper-35 , it ’s faster which means that the
candles were brigh t. We had shot comparison
tests of 8uper-35 spherical Primo lenses
against anamorphic Cooke 84s , Arri Variable
Primes and Panavision E and C Primo series
anamorphic and we opted for spherical Primos
It meant it looked like the candles were lighting
the room. 1wanted to avoid the look of some of
John Mathieson

6 Maximus’ gladiator sword
7 Preparation for the Germania
battle
8 Lighting diagram for M arcus
Aurelius' exchange with
Maximus after Germa nia ’s
defeat
those old films where you think , oh that ’s nlce an hour off that or more. The opening battle
and bright there , why have they lit the candles scene was to be cut because the producers
when the actors can see perfectly well? We couldn ’t make the money work and it wasn ’t
didn ’t want to do that , we wanted to have relevant to the script. AII you had to do is intro-
bright sources and have them dropping away. duce Maximus (Russell Crowe) and say he was
a great general and humanist , but you don ’t
We used uncorrected Kodak 200T 5274 in the have to see him in battle. But this is Hollywood
interior camp scenes and all through Germania , after all and the producers were in love with the
day and night , interior and exterior and that ’s scene and decided to do it anyway. 1suggested
why it had that cold feel to it. It also gave us to Ridley that we could be resourceful and do
more light for the exterior locations which was a impressionistic things to suggest battle. We did
concem as a day is only seven hours or less. If these odd things that became the mark of the
it ’5 a thick , cloudy day, you can probably take film , using weird , different frames speeds and

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 John Mathieson

9 A Kurosawa battlefield in
The Seven Samurai (1954)
10 Fire procedure guidelines
distributed during the
Germania battle sequence
11 The multi-bladed weapon narrow shutters. 1showed Ridley what 1wanted
effect
to do , and he said , “ Yes , that ’'s good "and then
‘ them , rather than fighting in the noble way, that
12 Call Sheet 1: Ex t. Germania when he actually saw it , he said , “ Did you do it
Front
all like this?" He wasn ’t sure at all , but he was
quite protective of me. And this was the first real
head to head 1had with him. But then he just
real ly warmed to it and it became the ‘ it ’ thing .1
thought we ’ d just do it at the beginning , to get
us through the battle stuff, but there were traces
of it all the way through the film. It was meant to
give the impression of what it ’'s like to be in a
battle , to be so exhausted , frightened , lost ,
leaning on someone to shove a sword through
total exhaustion , mud , blood and terror.
We played around with frame speeds consider-
ably. We undercranked which gave us more
light at the end of the day. It would get to a cer-
tain time of the day and it was “ Right , we ’ re on
8 frames per second" and we could almost get
2 more stops. Then we ’ d start lighting it with
the fires. If you look at the lighting continuity in
that scene , there isn ’ t any. The truncated idea

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11 12
John Mathieson

was to have this post-battle , a kind of 13 Buro Happold’ s detailed

velarium plan
Kurosawa battlefield or First World War burnt
out afterrnath , with the wounded returning and 14 Ridley Scott operates the
lightweight Aaton XTR
the entry of the victorious general. We only had
350 Gerrnans and 750 Romans and the
Germans looked a bit thin at times. We just
didn ’ t have enough money to do it. At least .the
Germania tribe were hairy and the same colour
as the mud , so if you moved around a lot , you
weren ’t sure of their numbers. When you do a
body hit on them , there wasn ’t much separation
as they were so covered in furs. It ’'s brown on
brown , so you have quite a few special effects
guys with large syringes out-of-shot , putting the
hits in if the blood bag didn ’t explode properly. If
a stab didn ’t throw up much blood , they would
pump this stuff in and it would f1 y through the
air. They ’ d follow the hand-held cameras
around with pumps , tubes and buckets making
a mess and whoever was being killed they
would bloop. Ridley would always like more ,
increasing the initial hits from one pint of blood
to two gallons. At that time 1noticed that if you
swung a sword in frame at a narrower shutter
angle than 1800, you got the effect of a multi
bladed weapon because of strobing , so things
“ ‘r “ “
looked more aggressive. Ridley added ground 영￥듬는후
3

*
moπars like bullet hits , which were again affect- _....c- _~. 다릎휠4- ---二:ε7 훨;끊τ一」파z

…、 걱/
ed by the narrow shutter. It ’s like , where ’s this
J프프三三프다
machine-gun fire coming from? It ’'s all war-
related , you don ’t question it .，---鋼雖:二
--------
We had five cameras principally in the Germania
scene. It was the main unit with two extra cam
13
eras and then 1’d step in and operate. We had
a Panavision Platinum , a G2 and then we had a
bunch of Arriflexes and some others . We did
have an Aaton XTR that a friend lent me from a
company called AIM Image. It ’'s a great camera ,
because it ’'s light and quieter than the
Moviecam SL and it ’s a good camera to cross a
muddy field with. Ridley couldn ’t believe it ,
because he ’'s always been a Panavision
anamorphic man. He said , “ Look , why didn ’t
you tell me about this? How long has this cam-
era been around? Is it new?" and I said , “ No it ’s
been around for years." Obviously the old
school considered the Aaton not very reliable ,
but Ridley thought it was fantastic . Here was
this little camera , you just pick it up and it
weighs as much as a chicken , rather than walk-
ing around with a pig on your shoulder like a
Panavision. Anyway, the camera became very
popular with the other operatαs ， because it
was reliable. AII through the mud , cold , dust ,
sand and heat it chugged away very well

1remember one day wandering into the offices

。，fthe structural engineers , Buro Happold , who
had designed the Munich Olympic stadium and
the Millennium Dome , 1started talking to them
14

15 Gérome’s Pollice Vers 。
(1872) which provided visual
inspiration for Gladiator
16 Tracking in the half
Colosseum
16
John Mathieson
and 1think the magic word here is ‘ Colosseum ’
Gradually more and more people started gravi-
tating to the front of their open plan office ,
thinking , who is this monkey, who wants to try
to build the Colosseum and cover it?
We all had this painting , Pollice Verso (1872) by
the French artist, Jean-L승on Gérome as a guide
fα Gladiator. It features this overweight gladia
tor with his foot on someone he ’'s about to put
to death. The audience are all in shadow and
there are these little strips of light coming in.
Ridley wanted to use that effect and intended
to do it in CGI. But the trouble is , that it just
doesn ’t work and it is diffic니 It to light people
well in CGI. AII that can be done at this stage is
to throw a Neutral Density - an all over-grey,
over people , which looks terrible and which isn ’t
a specular, soft ligh t. 80 1built this velarium , 60
ft above the people with strips in to let the light
through . At a certain time in the afternoon , the
light moves behind the velarium and these
strips would become beams and 1could alter it
as the light changed. 80 when we stopped for
lunch and it would all look d에erent within half
an- hour, the seventeen large trapezoid valeria
strips could be pulled in or pulled ou t. Having
built this roof that took light away and provided
shadow, we didn ’t bother controlling the lighting
。f the actors. You also can ’t do a wide shot on
a close-up if you ’ ve got lighting equipment and
reflectors in the way. The aπ director, Aηhur
Max , sourced a certain sort of coloured gypsum
or sand which he checked with me. 1thöught
that we should use material that wasn ’t white
white , but something that was bright, which
would be very hot and refiect the glaring heat ,
armour and sweat. We tried to accentuate the
shadow in order to take light away. Then you
have the fantastic effect of that shadowy peak
。f people in the foreground and the bright peo
ple out in the sand , or the gladiators with the
dim roaring crowd behind with a few of them in
the sun . The Colosseum ’'s sand arena is quite
small , it's just like two amphitheatres joined
together to enable the people to see the killing.
It ’s only 260 야 long and not even that wide and
it ’'s a big , deep bow l. 80 by dropping the light
onto the sand in the centre , it had the effect of
a huge theatrical spotlight and the audience
went back into the shadow. We had half of the
Colosseum to play with and it was built up to a
height of 60 ft. If you look at some of the light-
ing , the light ’s always coming from the same
side , because Ridley couldn ’t do many revers-
es. It was quite a large arc , so you could get a
camera in there , but it was almost like having a
two and a half waller set where you could dig
in. In order to do reverses , the livery, the colours
。f the royal box and the s
John Mathieson
Hannibal We came straight off Gladiator and staggered
through Hannibal with a great cast and an unfin
2001 ished script. While 1 was still grading Gladiator ,
Ridley Scott was scouting Hannibal and so 1
had to guess certain locations. We chose faster
Director stock because we were shooting on 1.85:1 and
used Kodak 500T 5279 principally for night inte-
Ridley Scott riors and exteriors. We used Kodak 2500 5246
Cinematographer for interior and exterior days , which 1 think is
faster than is claimed and some Kodak 500
John Mathieson 5245 for the more solid day exteriors. The film
Camera operators should have been shot in the winter to give it a
more miserable , gothic feel but we fi lmed in the
Klemens Becker lush summer. This was a constant problem
David M. Dunlap because you get all these wonderful , friendly
lime greens and all you can do is cool it down
Steadicam with cyan or blue in the laboratory.
Klemens Becker
People think Florence is a very bright terracotta ,
Focus puller sunny place but it ’'s not , it ’s very dark. It ’sa
mediaeval town and we found out quickly that
Simon Hume half the time you couldn't get where you wanted
Gaffer to go with the trucks. Eventually people just
gave up and ended up walking or cycling t。
Daniele Botteselle‘
locations. Even the actors [Anthony Hopkins and
Key grip Giancarlo Giannini] would get out of their cars
and walk. It ’s very narrow and very dark and a
David Appleby lot of the stone isn ’t brown or rust burnt ambers ,
Production designer it ’'s grey slate , granite , with dark paving stones
Th ere are terracotta tiles on the roofs of the
Norris Spencer houses , but if you’ re making a film about people
in the streets you don ’t go up there. And that ’s
one of the reasons why we chose to shoot in
the 1.85:1 ratio , because you get more top and
bottom instead of using anamorphic where you
go so wide you just end up with lots of walls
1 Pazzi (Giancarlo Giannini) on
the phone with the diagonal
shalt 01 light behind him
Hannibal is a film about building drama. Lots of
the moving shots are ponderous and heavy and
it was quite difficult and boring to shoot. A lot of
the tiπ1e it ’s characters on the telephone , in front
。f a c。π1puter screen or not in the same room ‘
Fα the scene where Pazzi (Giancarlo Giannini)
is on the phone in the streets of Florence , we
used a naval fogger [the Italian equivalent of the
Midi] which billowed down 6 tonnes of smoke in
the background , picking up the sunligh t. While
everyone was watching Pazzi , 1 was looking at
the background thinking , now just hang in there ,
smoke , don ’t blow away. 1 didn ’t care about the
action which 1 should and 1 used 8unpath which
allows you be very precise and is great for built-
up narrow locations. If the light was flat α
wrong in the wide shot , the background would
have gone to mush with a long lens , so 1 had to
have contrast. Even when we shot the close
ups we still got this diagonal cut right through
the composition and although it ’'s a long way in
the distance , it ’s got enormous scale.
When lighting night-time Florence locations 1
took out all the immediate sodium street lights.
The city officials laughed at us because we put
up a lot of our own lights on the disused fittings
The locals found this amusing and they ’ d say,
“ Oh , we just took all that stuff down two years
ago. " 80 they ’ d changed the lighting of Florence
and ruined the way the city looks at night-time ,
where you have these pools of light emitted
from the rain cover on top of the streetlights ’
enamel reflectors. The light and shadow hits
hard on the side of buildings in the narrow
streets , the wind blows , it all starts swaying and

2 Mathieson taking a meter
reading in a Florentine
colonnade. "There are forty-
four arches in that colonnade,
I know because I had to light
them at night time! "
3 Mathieson replaced
Florence’s sodium vapour
street lighting with 10K and
20K HMls for Pazzi ’ s murder at
the Palazzo Vecchi。
John Mathieson
that looks very effective. We made these coolie
lamps about 2 ft across with a 5K bulb in them ,
from a normal Fresnel light and let them hang.
80 when you get a deep street you get a hard
shadow at the top and a well of light that dies
away
Rather than having a big moon coming down
the street where 1usually think , where has all
that come from? we had Wendys α half
Wendys and Jumbos which are 16 spot Par or
ACLs [aircraft landing lights] . 80 you start with a
soft light and if you want to reach something a
bit deeper, you can use the ACL on top of it. 1
prefer using tungsten at night , because it ’'s softer
and better, whereas HMI feels too sharp. Ridley
believes in slightly wetting down everything
However, sometimes you get more shine off
things if you don ’t wet them down , For instance
if you wet down some stone walls they turn
black , you don ’t want that , you want texture.
Ridley allows you to light through rehearsal and
during the shooting. By the time you ’ ve got to
John Mathieson

4 Lighting plan lor Pazzi's

encounter with Hannibal in the
palace apaηment

5 Pazzi meets Hannibal

(Anthony Hopkins)

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6 The strip 01 light on
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7 Hannibal lit by window light

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light the right take , hopefully you ’ ve finished the
lighting! [t ’s a bit hairy because it can go wrong
Li ghting takes time and inversely, shooting is
quite quick , especially with good actors who like
to get on with it. 80 what you need is a like
minded crew and yOLJ fly by the seat of your
pants. 80metimes it was necessary to nudge
Anthony Hopkins (Hannibal Lecter) or say to the
camera operator or the focus puller, “ Can you
move him over a bit?" In the scene where Pazzi
meets Hannibal in his palace apartment ,
Anthony was playing the two sides of his face ,
。 ne was kind , one was evi l. One was pitted and
lined with age and if you put a highlight on this
side , 1got this light reflection on his tooth. If 1did
5
it on the other side , that didn ’t happen , he was
benign. Random things also happened. There
was this crack or strip of light that goes from
the good side to the bad side , from le야 to right
which presages trouble for Hannibal ’s adversary.
There ’s this other weird , dome light coming
down across his face which makes him look like
a skull and then a softer one from the other
side. You think , oh , who ’d notice this stuff , but
maybe the actor does. In the film , the take they
used is not perfect , but it was a very difficult
sequence to orchestrate. Anthony had to walk
up and get a light in his face and he’'s got to
look at someone else while there ’s a light com-
ing through the window.

There are some practical lights on and a cigar
burning within the apartmen t. There were about
ten windows down one side and we couldn ’t
light themall with 18Ks , As the opposite street
was so narrow, we couldn ’ t build over it , so we
had them hidden in the neighbouring garden
By narrowing the shutlers down to nothing you
didn ’t notice that the beams were wandering
around , You do see one of the lights in a shot ,
but it is not a problem because it's bright day
light corning in and you can see that it’sa
source ‘ Again to pick up the atmosphere , 1 put
some srnoke in to show the light , otherwise you
wouldn ’t have felt it coming in We also had
, |’ ve just bought some fi lters as 1 never re-use
Leelium balloons in there because we were
shooting in a five hundred year old palace and
we had to be careful about damaging the walls
Th ey were 5K HMls [2 x 2 1/ 2 units] that we
slightly dirnmed , When they dim , they go a sort
of yellow-green , which looks a bit nasty, The
John Mathieson
colour temperature is not very good , but 1 liked 8 Mathieson takes an
incidental meter reading off
it. They have improved them now, but to hang An thony Hopkins in Hanniba l's
gels off them is difficult candlelit library
For Julianne Moore (Clarice Starling) we used
some odd , old lenses We had this old zoom , a
,
Cinespeed , which is a Cooke 10-1 , that went
down to f-2 1/ 2 rather than f-4 , It ’'s got a big
front element on it or large collector, It ’'s a bit
soft , and glows a bi t. 1 remember the Tiffin rep
resentative rang up and said “ Hey, John ,
Hannibal was a really nice film , I'd love to talk to
you about the filters" , 1 thought , it ’'s a bit late ,
them , 1 said “ 1 didn ’ t use any fi lters" , and he said
“ You didn ’t? Are you sure?" "Yes','. was my
answer! It was all smoke and flares , you ’ re hit
ting the front of the lens with lights and she is
very pale and has a translucence about her and
begins to glow ,
John Mathieson
K-PAX K-PAX was a film about performances. It was a
really good script and was honed down to tw。
2001 guys talking in a mental institution. 1 thought you
could do wonderful things with the look of the
film and approach it in a Close Encounters of
Director the Third Kind , Starman or The Man Who Fe /l to
Earth manner. But 1 thought , no , it ’'s about two
lain Softley people seeing something in a different way,
Cinematographer about living on the other side of the galaxy,
about communication and changing the way
John Mathieson you think about things. It ’'s not about light and
Camera operator space travel. It should be ambiguous. Paul
Babin , the camera operator, sensitively interpret-
Paul C. Babin ed what was required emotionally in each
Steadicam scene , whether this was moving in closer or
distancing the camera. The film moves all the
Andy Shuttleworth time , it is always trickling , providing this feeling
Jim McConkey of orbi t. Nothing is stati onary, even close-ups
are just twisting.
Focus puller
Michael Riba We looked at many institutions in order to make
the Psychiatric Institute of Manhattan interior as
Gaffer real as possible. They were all very dull with flat
overhead strip lighting and we didn ’t think they
James Crawford were suitable. In the end , the interior scenes in
Key grip the main hospital were created in a studio
There were one or two fluorescents in the
Jeff Case patients ’ areas , but 1 don ’t like what they do. 1
Production designer used domestic screw-in 150 watt mushroom
bulbs sunk into the ceiling on the stage. These
John Beard were old style tungsten lights which are like
g
spots that p이 nt straight down. John Beard , the
production designer, suggested using the artist
Maxfield Parrish as a source for the film ’'s look
because his palette of ambers , purples and
lilacs complemented the so-called twilight
colours of K-PAX.
Most of the light came from the exterior, 20K
tungsten lights. The set was wrapped around
with day-time and night-time Cyclorama
Translights which were treated like real loca
tions. These were photographed in New York
and were combined with some painted back
drops. They were all lit with Skypans and 20Ks
on rings and ladder beams that were dropped
in to bring in this hot sunshine. On some of
those exteriors 1 did put a little bit of blue on the
ambient light , but really it is daylight li t. And
sometimes 1 would add quaπer straws , to make
the sun a bit more golden. The kind of brief that
went through the film , even in the office of Dr
Powell (Je什 Bridges) or in the main paπ ofthe
ward , was to burn the exteriors , so not to see
the Translights. We didn ’t want it to have that
A /ly McBea/ look where you can see everything
。 uts i de ， which can appear stupid. Kodak 500T
5279 was used throughout these scenes.
Dougie Madson [prop man] came up with this
weird hexagonal crystal and labelled it by
putting the Psychiatric Institute of Manhattan
 John Mathieson

logo on it We lit this paperweight with a 2K
Malepso , w hich is like a stage follow-spot with a
tungsten light behind it It ’s a very concentrated ,
hard ligh t. Often w e had the 20Ks blasting onto
the set together w ith other stuff which w ould
give very strong light and 1 would add this hid-
d en 6 inch w ide follow -spot on this paper
w eight In turn that w ould throw up spectral
discs of different colo 니 rs ， greens and blues and
pinks , like a prism split around the roo m, This
thing became a theme , for instance it w ould
w ake Dr Pow ell up. We put it in tracking shots
and in the foreground , Even when the table
w asn ’ t there , we would cheat it in and track
past it 80 this thing would blip and bing and
different lights would come out of it 1 thought
lain 80ftley would pick Up on a certain amount
。f these things , but he might find them to。
much and discard them , But he really went for it
and embraced that look ,
The studio was very unsure about Prot (Kevin
8pac ey) w earing dark glasses for the first thirty
pages of the screenplay, They didn’t like the fact
that their major actor's face was behind shades ,
lain liked his performance w ith the glasses on ,
because Kevin used them very w ell , you forget
he’'s w earing them , We had different intensities
。f g lasses within the same frames and w e
w ould swap them out to reflect w hat the char-
acter, Prot , saw or what we w anted to see of
him , The main problem w ith shooting someone

“
PAGE20F 3 K-PAX'’
10/27/00

, çAM. SND. SC. TAKE PRINT ALL DESCRIPTIONOF ACTION

GREY SUNGLASSES:

Light grey #6 - lightest; Director liked; use ‘for Close-ups’

Med. Dark #11 - darkest glasses off the shelf; use when first gets off train

Grey#1 - for ‘general use'

Grey #4 w삐1 AR - darkest

RED SUNGLASSES:

Lightred#2

Med. red #7 with slight mirror

1 The sunglasses of Prot (Kevin 3-5The effect of the glass

Spacey) fitted with medium paperweight’ S spectral discs BLUE SUNGLASSES:
density lenses
6 Sunglasses and costume Light blue #8
2 Prot in the oflice 01 Dr Robert tests
Powell (J eff Bridges) with Med. blue 빼
Maxfield Parrish's The MiII
Pond (1945) in the back-
ground
COSTUME #1: Greyish jeans , jean jacket, brown T-shirt, peach plaid shirt

‘
COSTUME #2: Striped pants , grey jacket brown T-shi rt, beige shirt

6
John Mathieson

with mirror shades is that you see everything ’

7 The Powells and riends
reflected in Prot's sunglasses
reflected. So we had to be very careful where al lhe Fourth of July
we hid the camera , especially in close-ups . ce
티lebr떠
attons

Sometimes we used a crane , which enabled us

8 Malhieson’ s annotated st。이­
to drop the camera down beneath the support board for Pro t's breaksown
system and head. Then glasses bow down
beneath the eyebrow and you don ’ t see much
off the top of them. You can bring the camera
down low on top of the frame of the glasses
and most of the reflection falls away to the flo or.
If you had a tripod there with a camera and a
dolly you would see that reflected. We used a
crane between the shoulders of Mary
McCor.mack (Rachel Powell) and Jeff Bridges
for Prot's arrival at the Powells ’ Fourth of July
celebrations. We parked it off in there , wrapped
it up in black as best we could and took the
mattebox off , so the lens became a little round
object , rather than a big square mattebox. If
you look very carefully, it is in shot

Another problem was the lights. How do you

light into the glasses without seeing the instru-
πlents? This could be the light , the barn doors , 7
a poly reflector or. a 4 x 4 piece of white poly- 11
styrene reflection on the silver stand. To dis-
guise this , we built props that looked like win-
dows. We also had reflect or.s that had Venetian
blinds on them , so if you did see something , it
looked like a window or the reflection of an
open doα We had asymmetrical bits of card
cut that mimicked a beam of light falling across
a floor and smaller window frames which we
moved in. Even though they were coming from
the wrong place , like underneath , it looked like
it could be a window in the distance. In many
films you can see reflections in actors' eyes in
close-ups. 1say to myself, that ’s how they did it
If you just have a flat pinprick of light in there , it
looks wrong. If you use a square poly in the
close-up , that also annoys me as there aren ’t
squares in people’s eyes. 1like to use different
things to achieve this effect , sometimes hitting
the eye from the side. Maybe you won ’t get the
light in the eye , but you can hit the cornea or
the iris with multiple l i에 e bits of sources.

It was lain ’s idea to shoot K-PAX in anamor

phic. Anamorphic lenses flare , blemish and
bloom and don ’t hold highlights , even when not
flaring. If you shoot someone against a window ,
that window will bleed into the blacks. It will feel
very photographic , and you get little Newton
Rings flying around. They are never consistent
and are always slightly differen t. Th ere are
stronger lenses and weaker lenses and they
have little idiosyncrasies. Some are better at
looking flat , others hold contrast well , while
some distort badly, but hold good contrast. It is
impossible to get a set that matches. We used
Panavision anamorphic E Series lenses
8

throughout K-PAX , which 1 found to be the best
ones. They give the flatter, sharpest image. They
distorted less and did provide good fiares if nec-
essary
1 deliberately left things hot in the frame and
there was always a flare in shot. By putting lights
on cranes , 1 was able to get right on top of the
optical axis. However, if that light was off to the
side , it ’'s too far away to dig in and it wouldn ’t
bounce into the lens. By dropping a light down
on top of the narrow part of the letterbox format ,
you are more likely to bounce something off the
floor which flares in the lens. Technicians work
very hard preventing these lenses fiaring. They
make matteboxes , they put mattes in , they flag
everything. And 1 was saying to the crew, “ Leave
them out. " My focus pullers or first AC [assistant
camera] were saying , “ Are you alright w ith that
hotspot , that thousand?" and 1 would answer,
"Yeah , yeah , put it there. " [T he difference
between a flare and a highlight is jokingly
described in budget terms as $1 ,000 a day.]
Some of the audience might not notice these
effects so much , but there is a lighting rationale
g이 ng on. We often used light on tracks , so if
you got a flare then you could make it move
slightly. These lenses are very poor when com-
pared to the spherical lenses , they are terrible at
dealing with contrast and coping with low light.
Because of this , we had to put in a lot more
light than you normally shoot with , an increase
。f almost 2 stops to make the lenses look
good. They say they open up to f-2 , but they
are much better at f-5.6 . 1 was lighting up t。
about f-2.8 213 to f-2 .8 1/2 , so 1 was stopping
2/3 of a stop deeper than 1 would normally do
on certain things . Anamorphic lenses , however,
w ill do nice things in pastel light , they will pro
vide you great drop off of focus and they will
give you flares if required. But you have to work
with them , they are great in studios and were
made for studios and arc lights. There is a lot of
close-up work in K-PAX , especially in the hyp-
nosis scenes. The anamorphic lenses made the
focus pullers ’ jobs difficult as there is zero depth
of field on a lot of them. Even on 5-6 ft at
f-2.8 1/2 when you ’ re using a 75 mm or even a
100 mm , you ’ ve got 3 , 2 ,1 1/2 inches α less
depth of field. If you go much more than that t。
100 mm or 135 mm you ’ ve got nothing
We knew the lenses would flare for the Fouπh of
John Mathieson
9 Prot interviewed in the
psychiatric institute
10 Prot playing with the
Aerobie
11 Prot surrounded by his
iellow patients' K-PAXian
window collages “ They
became this rather abstract
thing and reminded me of
Liverpool Cathedral “
11
J 비y party scene. 1 was not afraid of them hitting
things , which was inevitable as we knew that if
we got light into the corner of them , it would
start throwing secondary and third blips and
shapes into the lenses. When Prot is pla끼 ng
with the Aerobie , he holds it Up , looks at it as if
it was a ring of Saturn and the light bleeds
around him. 1f we had used a sphericallens
here , that would have been a point ligh t. As it is
anamorphic , the light stretches sideways and
elliptically. There are also secondary beams
coming off it. If you don ’ t shoot those lenses toc
deep in stops and you NO them down to about
a f-2.8 1/2 α an f-4 1/2 , they will give you morE
f1 ares. However, as you use deeper stops they
will get better. We used Kodak 500 5245 , w hicl
was the slowest stock available. We polarised it
if necessary or applied neutral density filters to
get the lens working at the stop we wanted.
Those lenses will white up and when they fiare ,
the light hits them and they don ’t hold it very
well. It bounces around everywhere , so we
opened up the stop a bit more and it flared witr
the lens doing the rest. We tried to shoot into
the sun and sometimes we pushed the stock
which makes it a bit richer. The grain does
come up , but it is not really noticeable.
John Mathieson
\t1 atchstick Men Matchstick Men is a contemporary film that ’s
also about odd characters living in very ordinary
2003 surroundings. It ’'s not fantasy and so you 're try-
ing to make something that is very familiar and
very ordinary look stimulating α different without
Jirector it becoming over lit or over stylised. This goes
against everything Ridley is , because he ’'s such
Ridley Scott an expressionist, he instinctively tries to manipu-
~inematographer late things. Tom Foden [production designer]
and 1were trying to hold him back all the time ,
John Mathieson because it ’'s all about the people , the words and
~amera operator the hidden con , therefore you don ’t want any
thing to detract from this.
I\l1 itch Dubin
Steadicam 1didn ’t do anything too weird with the camera
going inside the paranoid state of the mind of
Andy Shuttleworth Roy (Nicolas Cage). There are some little odd
Focus puller punctuation points here and there which are his
point of view of what is happening around him.
Steve M iesler We did things in camera with frame speeds and
camera ramping , particularly when Roy and
Gaffer Frank (Sam Rockwell) are conning the elderly
James Crawford couple at the opening of the film. We shot the
scene at 18 fps and narrowed the shutter down
Key grip to 45 0 and there were little blips and flashes
Jeff Case which made him a bit more frenetic , speedy and
edgy. We wanted to have someone normal in
Production designer the foreground and play with different speeds
Tom Foden Obviously you can only make a camera record
or do one thing at a time , then you can play
with exposure , the frame rate , ramping the
shutter angle , but they ’ 11all happen at the same
relative time. If we wanted to have Sam
Rockwell being crazy, we shot him at something
like 6 fps α 3 fps , put him back into a normal
frame with some miniature palms in pots that
’ ·r
1
1 Mathiesolγs Matchstick 4 Detailed lighting plan of
Men chai r. " 1’ m too busy to sÎt Roy’s house
in my chair and prefer to walk
behind the camera rather than
watch the 씨 deo Assis t."
’
50ve r1 ea Mathieson takes a
colour scale reading while
Ridley Scott directs Nicolas
2 Detailed plan of Roy’s house Cage “ Ridley is a great thinker
。 n his feet, the best I’ ve ever
3 Mathieson and Nicolas Cage seen. "
(Roy) lit by Kino-Flos
r,-
」닉느-
2
were blowing like scissor blades around 18 fps
at about a 45 0 shutter angle. There were also
some flies and some dust buzzing around
which Roy can ’ t stand , that was shot at normal
speed . Those combined elements were not very
complex by today ’'s standards and nothing was
manipulated α CGI ’ d. It was all just composit-
ing shots together, with a bit of use of blue-
screen.
When Roy is looking outside and the window
。 pens ， we had a huge 18K HMI light outside
which was about 5 or 6 stops overexposed.
Normally you wouldn ’t do that , you ’ d think , well
we ’ 11 have just 2 or 2 1/2 stops over. 1just
opened the thing and let the light pour in. He
doesn ’t like the outside , he doesn ’t like direct
sun and that reflects on his character because
it ’'s so overexposed . 1think they ’ re very effective
and that ’'s the language Ridley likes , he likes
direct , simple things and 1think audiences do
too. You know what it is still , but it's the time
that is moving quicker and it's a little metaphysi-
cal, it's still tangible and it ’'s not outrageous
That ’s the thing with Roy, he is someone who
does have a few problems but he ’'s not actually
bonkers like he thinks he is.
The practical decision was to build Roy ’'s house
in the studio. Going to a studio every day does
become boring and monotonous and you can
fall into traps of just doing the same kind of
thing continually. To combat this , you try and
move the lighting around. It was on electric
trusses so 1could move the sun around , up and
down and from different sides. 1’ d change gels
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 John Mathieson

from wheat to straw to a very light amber colour

and then even some orange to change the
quality of the sun. 1 played with the brightness
on the Cyciorama for day and night scenes. We
had to make a real 3 ft deep pool with pool lin-
ers and filters , which is expensive because the
whole set had to be lifted 4 ft. We found that
the mobile cleaning filter in the pool would set
up a rhythm of ripples that would last long
enough for a couple of takes and you get nice
long languid slow ripples that moved through in
that Hollywood Hockney Splash way. We did
use some ripple trays inside the house and out-
side on the pool patio when we couldn ’t get the
angle of the light to bounce through the pool
After someone ’s been swimming at night and a
pool is settling down , it starts throwing up those
diamond shapes which was the effect we were
after, so we played with that more at night-time.
It dominated the mood of the room , it calms
Roy down. He comes into his home , he doesn ’t
have a 1v and he switches on the pool which
he never swims in , then he sleeps for a couple
。f hours frenetically and then he gets up and
starts worrying about something else!

Roy doesn ’t like going out , doesn ’ t like seeing

people. He likes keeping the blinds drawn in his
living room so you always could play with light
penetrating the room ‘ Often we didn ’t want the
light to be flat on him , so we ’ d shoot him
against the windows . We used anamorphic

••••••••••••••••••
39 38 37 38 35 34 33 32 31 30 29 28 27 26 25 24 23 22
lenses which flare and helped to give that
i i i i ￡ i $ d i i i i i i &i & 빼 § feeling of squinting into bright ligh t. The pre
~_ 1'-_ ↑l~ _ ~_ 1~ _ ~ ~~ L' dominant room wasn ’t real ly that dark. It was
생1 면 짧 쟁뾰힐겁 얘5쁘 Z줍 쟁7 휠 quite bright photographically, but you always
have brighter lights outside which give the feel
ing of contrast. He ’s hiding from the world in
'.1 this dark interior, especially when he starts los-
ing it. We shot daytime in the living room at
f-5.6 and night-time was probably abour
f-2 .8 1/2-f-2.8 3/4 using Kodak 500T 5279
The living room daylight was alllit tungsten ,
there were no HMllights in the house set

It ’'s very difficult to create ambient daylight in a

studio , you can ’t just switch on a big light and
hope that that looks alrigh t. It is not enough to
~.
% say that my shadow to sun ratio is about the
••쓸 Øa same. You get a lot of helisphere light especially
• &. in California which may be a cold blue 떼 light
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that covers you from all angles if it ’s a clear day
legend eb
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round the set and fi ll them in. Some of them
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sure that you fill in everywhere , otherwise your
shadows look too sharp. We could have that
John Mathieson
cool blue ambient fill light even though Roy ’s
house is quite shady. When Roy went outside , 1
did overexpose things a lot and then printed
them down later, hoping that the anamorphic
lenses wouldn ’ t hold the contrast so well ‘ 1 was
trying to get this overexposed , bleached white
look , so we did expose more for the shadows.
When the sun falls down on the LA concrete , it
goes bright white and becomes these blocks of
dazzling white in his world. It could have been
suppressed , we could have dealt with the con- ‘
trast better and lit into the shadows , but we
tried to keep it a contrasty fi lm. If you overex
pose to the point where the highlights don 't
come back and you start printing them down ,
since there ’'s nothing left there , they ’ 11 stay blown
ou t. But what you do is get some of your
normal colours back and they ’ 11 sit down quite
nicely as mid tones and even black shadows
The overexposed highlights and brighter things
will have gone on the detai l. This hard , bright
fearsome sun helps contrast with the interiors
and makes them very dark. California is a place
of contrast , although increasingly less so , with
smog and ocean layer which , especially in
Venice. rolls in like a 8cottish mist. It hazed over
‘ when Roy freaks out in the pharmacy and it ’s
supposed to be daylight , so we decided to play
it at dusk and tell everyone to switch on their
headlights. We shot it with tungsten film without
correction , just made it go blue and cold ‘
However the ocean layer burnt off at midday
and if you look outside , it ’s all bright and daz-
zling. 80 what do you do? 8hoot it again?
In this digital age the stocks are fantastic and
eve이one wants to see everything , if you look at
photography in magazines everything ’'s hyper-
real and 1 don ’t think things are like that. 1
remember fi lms from the 70s like American road
movies such as Two Lane Black Top (Monte
Hellman , 1971) and the outside would be burnt
ou t, just gone and 1 loved that. If someone ’s dri-
ving a car and they are moving through shadow
and brightness and you ’ re burning the outside ,
it ’'s going to be much more exciting. There ’s one
scene where Roy comes out and takes his pills
after first seeing his psychiatrist , Klein (Bruce
Altman) , a car drives past , windows bowed at
the perfect angle , the sun just comes in and you
can ’t see into the car but it just throws this fan-
tastic highlight into Roy ’s world as he swallows
a pil l. He ’'s got his sunglasses on , he ’'s in his car
again and that Californian dazzling light is com-
ing in. Throughout we used Panavision anamor-
phic E lenses with some Cs thrown in
When Roy wakes up in the hospital room ,
you ’ re not sure if he ’'s been shot or if he ’'s been
hit on the head . Whatever it is , he ’s got this
bandaged Beanie thing on his head. You work
out quickly that Chuck Frechette (Bruce McGill)
has been killed and there are these two rather
nasty, unsympathetic police officers. We used
swing and tilt (non-spherical) lenses and in post
set a delay or a double exposure decay echoing
the action so people were flipping back into
themselves. You effectively squash the picture
by removing the anamorphiciser, the camera
image yaws and pitches and twists off the
actors. Everything square goes rhomboid
shaped because it distorts. As you roll it the
other waι things will stretch out again , so that ’s
what makes it nauseating. He ’'s in that out -of -it
state and the police officers talk to hi m. It is his
 J ohn Mathieson

point 01 view and then you cut back to him and
he appears more normal. He’'s lit under a very
overexposed yellow-green light , w hich was
inspired Irom a surgical documentary on irriga-
tion suction pumps 1made some years ago ,
which looked awful photographically. The sur-
geons would use a very bright light over the
surgery and when my rushes came back 1
remember all the blood came out black and the
flesh was yellow. That complementary opposite
01 red made it go very dark and then the green
surgical overalls and the immediate operating
area became a peculiar peacocky green rather
than being that dull surgical colour. 1shot Roy ’s
scene on Kodak 500T 5279 using lull plus
green which is a correction usually lor HI\t1 ls and
also using domestic warm white Iluorescents
which didn ’t have any magenta on them , so
everything went a bit green plus pale yello w. It
made him look quite sallow, sweaty and il l. We
went about as wide as we could go , because
we were in a very small room. We had a closed -
in set and it was lit Irom on top -as 1couldn ’ t get
any light in there or hook it round Irom behind.
He had a light above his head and a bedside
lamp and then we had the lights in the rool
which we could switch around to highlight differ-
ent areas 01 the room. With anamorphic you
can go wider and get more sense 01 depth than
you could normally. 1I you think 01 75 mm as a
wide lens because that ’s usually the equivalent
01 about a 32 mm/ 40 mm or you go to 60 mm
w hich is quite a rare lens , you get distortion
You ’ re using a much larger negative size , so you
get a much better, much narrower depth 01 lield
and your wides don ’ t leel so wide. It ’s generally
thought that you have to use anamorphic il it ’5 a
big landscape system , but 1think it ’'s better in
smaller places because you do get lens distα
tion. You also don ’ t get that w ide leel 01 every-
thing being in locus and can use your locus
creatively and play with Ilares

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8
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Seamus McGarvey
The Winter Guest After about a week ’s shooting we were due to
shoot a scene in Pittenweem and 1got a knock
1996 on the door at 6.30 in the morning from Rick-
rnan who said , “ There ’s real snow out in the
field opposite!" We q비 ckly got a camera togeth-
Director er and dragged out whoever was in the hotel -
the gaffer, Lee Walters , and a few others. AII our
Alan Rickman snow in this wintry movie was created by a
Cinematographer company called 8now Business Effects , who
artificially manufactured paper snow, wax snow
camera operator and ice blocks , so we had to work within quite
Seamus McGarvey narrow margins in the frame. Then suddenly this
。 ne morning we got a whole field of snow and it
Steadicam was Rickman ’s chance to shoot a 17.5 mm
Alistair Rae wide shot of Phyllida Law (Elspeth). This
became the opening shot of The Winter Guest
Jan Pester
Focus puller We always intended the landscape to have a
bleak , stark quality, but in the first week of the
Baz Irvine shoot , we got the most extraordinary Marbella
sunshine. We had absolutely azure skies which
Gaffer were completely wrong for the film. We did
Lee Walters shoot a day and the rushes were not what 1
wanted. 1wanted a greyer, paler, softer look. It
Key grip was just too harsh and hard and the direct light
Stuart Bunting created havoc with the artificial snow. In con-
trast to this , when you ’ re shooting snow and it ’s
Production designer grey and overcast it gives a lovely quality and
Robin Cameron Don gradation of tones. We had already tried t。
defend ourselves against this direct light by all
manner of means and there was very little we
could do with silks in the multiple wide shots. 1
1 Th e opening 17.5 mm shot
shocked the American producers by calling for
。1 Elspeth (Phyllida Law) weather cover in a set built in an old sugar beet
surrounded by real snow
factory in Cooper, when it was gorgeous weath-
2 Frances (Emma Thompson) lit er outside. They were like “ What? Are you
with negative lill light crazy? This is 8cotland , it ’s going to be raining
on us in a while." And 1said , “ Well you know ,
3 One 01 the unblinking
close-ups on Frances we can ’t shoot in sunligh t." 80 we made this
mad decision and Alan Rickman was right
behind me on it. We went indoors when it was
sunny and came out when it was cloudy. Apart
from one moment , which was a second unit
shot of flying seagulls at the start of the film , 1
don ’t think there are any direct sunlit shots. This
gives a cohesiveness to the fi lm and made it
easier to grade and fine tune its timing
Artificial snow was controllable because you
could clear it , but with real snow there ’s so
much white light reflected that it is a very unflat-
tering point of view for illumination , particularly
for actresses. If you ’ ve got a back light at a 45。
angle which is combined with this ‘ Bela Lugosi ’
under-lit soft box effect from the ground , it can
be really horrific. When a lot of snow was
spread around the place , 1would use negative
fill , by spreading black drapes out or throwing
down poly so that snow on one side would cre-
ate a key. Then you ’ d have a sensible degree of
shadow on the other side and bring in an
appropriate , higher key. We did a few interior
close-ups of Emma Thompson (Frances) at the
start of the film at 32 fps. When you shoot a
close-up at 32 fps instead of 24 fps , the shot
has an unblinking quality. It ’s almost like you ’ re
seeing into somebody, you’ re not just seeing a
surface , there ’'s something beyond that. Li ttle
tics and moves of the face suddenly become
extended and so you ’ re just drawn in. With a
face like Emma’'s , it ’'s a very beguiling look , but
it's not Brian De Palma , it ’s not so slow that
you're aware of it.
We shot the iced-up harbour scenes at Pitten
weem , just looking out to sea for real and at the
old RAF Crail airfield. Its tarmac was covered in
wax and hay bales draped in white tarpaulins
3

4-5 The mixed source lighting
。 1 the leet washing scene
6-7 깨 e Wescam shots 01 the
mo씨 n9 coach and track-in
zoom to C hloe (Sandra Voe)
were placed at the edge , misted over with a fog
machine. It was on a cliff face , so beyond that,
it went off to infinity. We shot masses of plates
01 that and the digital guys were able to comp it
in behind the actors. The original rushes of the
film without the digital effects were incredible
For instance , you would see Emma walking
towards the house and suddenly there would
be a big splash of water, but once the frozen
sea had been digitised , it was subtly removed ‘ It
was cited a lot at the time as an example of
early invisible digital effects and how they could
be used in a calm , story-based way. Steve Run-
dell and Blondel Aidoo did Titanic (James
Cameron , 1997) directly after The Winter Guest
and I think that ’s why they wanted to do ice
We looked at Pierre Bonnard in terms of interior
domestic landscapes and studying people
closely, in context with objects in a frame
Because we were working w ith snow and very
halating highlights , together with blown out
windows in the interiors , I wanted lenses that
had good clarity and sharpness , could hold
ftares , hot spots and shadow in the same frame
and so I used Primos with black Promist filters . I
shot the Alexander/ Nita (Gary Hollywood and
Arlene Cockburn) feet washing scene on Kodak
200T 5274. Ilove the play of coollight coming
through the window , mixing with warm sources.
Often cinematographers try to correct mixed
sources which I think looks ridiculous. They ’ II
completely 85 (orange gel) the windows. I like
the exterior to blow out a little bit cool and then
10 have this interior light a little bit warm. It gives
you a realistic range. For the Alexander/ Nita
scene , we wanted an intimate fireside scene ,
but in dayligh t. We had windows coming
around the house and so I blacked these out
and had cool daylight coming in as back light ,
Seamus McGarvey
5 7
from either side , cross lighting them. For the
firelight , we hid little peppers on flicker boxes to
back light them and let one side of their faces
go dark
We did the shot of Li ly (Sheila Reid) and Chloe
(Sandra Voe) in the moving coach up in the
Scottish Highlands , w hich was the only place
near our location that had snow. The helicopter
crew was minimal and it consisted of Rickman ,
the Wescam technician and me. I was pulling
focus , so it starts slightly soft , needless to say!
We came right down to the coach and we were
about 50 ft from the windows. We zoomed fully
in on a 25-250 , 10-1 Cooke zoom , shooting on
Kodak 200T 5274 with an 85 and tracked w ith
it. The Wescam , with its Gyro stabilised ball ,
allows you to shoot on a long lens with
absolutely no vibration. Once I’ d sighted the
coach , it was really difficult to keep it in shot
and so it was three-twσ-o ne and track back.
The helicopter banks back and we incorporate 8-9 The linal shot sweeping
。ver the frozen harbour
the zoom into that , so the whole thing opens
ou t. It was shot at normal speed , although it
does look like slow motion , just because the
coach is going along the road at such a slow
pace. After we ’ d done that shot , we were
banking around to do another take and sudden
Iy we saw this frozen lake ahead of us. So
once we ’ d done those few shots using the last
ligh t, we swept over that w ith a wide-angle lens
and went about 10ft above the ice and as we
were flying over it , a flock of birds suddenly took
O什. It was one of those serendipitous moments
and I thought , go on , shoot it and it became
part of the film . Steve and Blondel incorporated
that into the final shot , when you come away
from Phyllida Law over Pittenweem and then
you sweep down into the ice around the
harbour
Seamus McGarvey

After shooting The Winter Guest , 1 met Eduard。

The War Zone Serra , who 1’ d assisted on a few projects , in the
1999 street. 1 was so proud of the film that 1 suggest-
ed he see it and so Eduardo dutifully went to a
screening. He then phoned me Up and 1 asked ,
Director “ So did you like it?" and he said , “ Yes , you have
very good composition but for your next film
Tim Roth you must start to switch off the lights." He was
Cinematog rapher absolutely right , 1 had totally over lit the interiors.
1 took Eduardo ’'s advice on The W김r Zone and 1
camera operator started to use , not necessarily less light , but t。
Seamus McGarvey work with darkness , to let things fall off , where
as before 1 would have added more fill. For the
Steadicam duration of the film 1 adopted a simpler, more
Alistair Rae Spartan approach.

Focus puller Tim Roth really hit the ground running from the
moment we started and demanded a lot of seri-
Baz Irvine 。 us prep that stood us in good stead. We had
Gaffer four weeks' prep So not only did we get a
chance to know each other really well , but 1 got
Lee Walters to know how he pictured the film . Tim , Michael
Key grip Carlin [production designerJ and 1 were con-
stantly exchanging , puréeing and processing
Stuart Bunting ideas , so we were all very clear from the start
Production designer what we were trying to do. Tim and Alexander
Stuart initially wrote the screenplay almost as a
Michael Carlin shooting script, with camera instructions , such
as Steadicam roarηs over the mantelpiece ,
across the carpet and then suddenly shoots Up
the stairs , finding Jessie alone brushing her hair.
When 1 first read it 1 thought , this is going to be
a nightmare because we ’ re going to be shoot-
ing in a real location and 1 don ’t know how 1’ 11
be able to light it. We realised very soon that
the film was going to have a stiller quality and
this “ unmotivated camera mischief" , to quote
Eisenstein about Dziga Vertov [T he cinemato
graphic principle and the ideogram in Film
Form , 1929J was getting in the way of the pic
ture. The camera became a witness , it had to
have a real observational , solid , steady quality. 5

1 Dad (Ray 에 nstone) and 6 Tim Roth and McGarvey

Mum πIda Swinton) surround- recce a beach location at
ed by mixed source lighting . Sandymouth in Cornwall

2-5 Steadicam sequence of

the track-in to the back 01 Dad
。 n a 75 mm lens

6

The camera does move a lot , but it moves very,
very slowly. There are sometimes just tiny track
ins or moves of maybe 3 ft , but they do give a
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very unsettling edge. You ’ re barely aware , but
7i 딘효표포표D from the start to finish of the track , there is a
zQL t앙잉영1 shift of perspective. We wanted there to be a
‘- m) sense of stability in the domestic landscapes ,
띠폐띠
다
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but we knew that the audience might be aware
that the carpet would be pulled. We knew that
Simon Boswell was planning a score with scale ,
상 but with darker tones. Similarly, from a photo-
G~-=강 Q graphic and lighting point of view , we wanted to
싫냐 걷팩‘쉰3끊 have cinemascope . We wanted to have vistas
and grandeur. We didn ’t want to produce a fi lm
that had the immediate photographic signature
8 of a heavy, hard movie , like 1\lil by Mouth (Gary
7 Dad and Jess (Lara Belmon t) Oldman , 1997) with that hand-held , gr따y， social
argue under fluorescen t
lighting
realistic style. We wanted to have something
that had a finer quality, yet a dark brooding
8 Lighting diagram of aspect as well. That ’s why we decided to go for
kîtchen/sitting room
anamorphic cinemascope , using these old Xtal
Express lenses on a Moviecam Compact. Chris
l\t1 enges had used them on The Mission (Roland
Joffé , 1985). Th ey ’ re anamorphosed
little Cooke lenses , they look like little jewels and
have a lovely quality. 1 used them with no diffu-
sion as they have wonderful halation on overex
posed highlights such as on the white skin of
Jessie (Lara Belmont) , but they hold contrast
well . They are very unusuallenses. They inter
Seamus McGarvey 1
cept the reality of an image , alter it slightly and
that was appropriate for us.
For the tungsten -lit domestic interior, 1 let the
daylight come through and graded it halfway
between the two. And when it got very cool
outside , 1 would gel it half CTO , but never cor
rect it fully, because it just looks so artificial. 1
had to use a lot of smaller sources , so we used
little peabulbs or peppers that we would hide
behind lamp shades if someone was by them.
Obviously there ’s not enough light from a lamp
itself and if you try to light with that source , it
just bums out and becomes too hot. 1 generally
use a 100 W bulb in the practical and take it
down on the dimmer, so it registers as a lamp
We used a lot of the new Arri 150 lights that
were really small and you could just tuck in any
where. They also had a light made out of a tiny
200W Par with a frosted tube on top of it that
could be hidden behind/ over doors and cup
boards. We had a bank of fluorescents in the
kitchen which gave a big soft top light down
because Tim was keen on using shots which
took in the whole room. Throughout The War
Zone , we were shooting a lot with our lenses
wide open at f-2.8 , even though it's not recom-
mended that you shoot anamorphic lenses at
that stop. It ’'s a hell of a job for the focus puller
and Baz Irvine did an incredible job keeping the
Seamus McGarvey

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image sharp. There is a Steadicam shot which
tracks in on the back of the head of Ray Win
stone (Dad) and we were shooting wide open
on a 75 mm anamorphic lens and Baz got it pin
sharp , there was nowhere to go because it was
a real house we were shooting in with 3 ft walls ,
not floating studio walls.
NG [No Good] and you are going to have to re
shoot." We saw it that night and it was
gorgeous. Because 1had asked them to print it
down , they had printed it really, really dark and
as it was underexposed you get no highlights
and instead you just get this velvety charcoal
graduation of blacks and greys

12
9 Li ghting diagram lor the
night~t i me car scene
10 Tom (Freddie Cunliffe) lit by
a battery powered Kino-FI。
11 The canopy 01 trees lit by
two 2K 810ndes
12 The car crash with
。verexposed back light
13 The brutalist bunker
designed by M ichael Carlin
14 The precipitous drop to the
side 01 the bunker
On some of the night-time car scenes , we
wanted it dark. Tim and 1hated what 1dubbed
the ‘ Alien-dashboard -effect' which is the white-
hot hands lit by Kino-Flos. It looks poor and
gives actors ’ faces the ‘ Bela Lugosi’ effect. We
used this dodgy old car that had slightly tinted
glass and when this thing arrived at night 1fα­
got to account for this. 1decided to light really
soft from the front and underexpose it a little bit
1had two 4 bank Kino-Flos either side and
made them really soft through frames , so there
was almost no source. Unfortunately 1made the
mistake of taking an incident meter reading on
the actress ’'s face w hen the camera was on the
other side of the window which had a filter fac
tor of approximately 1 stop which 1hàdn ’t
allowed for. Consequently the image was under
exposed ‘ 1rang John Ensby at the lab and
asked him to print it low. He said , “ Seamus , 1
am afraid there is nothing there. " and 1said
“ What ?" 1went white. He said , "You will just
have to see , but it is really down and 1think it ’S
We shot the drive-by on a road in Devon with
muddy fields on either side. Tim wanted it as a
pan and 1said , “ Wecan ’t do it on a pan
because 1am going to need to have lights in the
boot shining outwards." For the shot of the
approaching car, 1had these battery lights in the
boot of the car pointing outwards so that the
rear of the car was lit in silhouette. I lit the bot-
tom half of them red and the top half of them
clean , so the light going up was white light
There were two 2K Blondes making 4KW of
light coming out of the back for headlights
which is quite a lot of ligh t. 1had a little strip of
battery-powered Kino-Flo underneath the kids
hanging out of the car. That came out a little bit
hotter than 1would have liked , because they
were closer to it than in rehearsals , when they
held back instead of going towards the wind. 1
had two Mini-Flos on the rear view mirror light-
ing the Mum (T ilda Swinton) and Dad . To avoid
the whip pan and seeing the Blondes in shot , 1
suggested filming the pan on a cut which works
Seamus McGarvey
,
eamus McGarvey

6
 ‘;/
well and leels like a pan. When we went the
other way, 1 swapped the Blondes to the other
side , left them white and turned them up so that
they light the canopy 01 trees and 1 took away
the Kino-Flos Irom the kids. We wetted down
the road , so that you get the kick off the back
lights and the real brake lights as it goes away
Th e car crash scene had masses of light We ‘
lound a place near Pinewood where we could
raise a 100 ft Cherry Picker w ith two Dinos on it
and swathed the countryside in a green ligh t. 1
used a quaπer plus green which is normally
used for correcting fluorescents. Normally you
can ’t overexpose a back light , but 1 just let it go
under a bit - it was a bit more than 1 thought ,
actually! It looks as if there is light coming from
the headlight , there ’'s a bit of spill coming from
inside and there ’'s something on the rim of the
wheels which is caught nicel y.
When 1 first saw the designs for the bunker, 1
thought , 1 can 't light this properly. There were
2 ft thick walls with slits in them and 1 would
have no way of getting light through or at any
sort of angle on Ray Winstone or Lara Belmon t.
Th e bunker was built in situ on the edge of a
cliff that had a 70 ft sheer drop. It was like a
work of art , a brutalist piece 01 architecture and
we looked at photographs by Bernd and Hilla
Becher for its greyish colour. It did present hor-
rific problems because of the gap around it and
we had to get a camera in place there . The only
thing 1 could do was have these special six neu
tr왜 density acrylic sheets built that could be
bolted onto the windows on a curve , which
maintained an exposure and allowed wide shots
18
15-16 Wi th its 3 ft apeπure
and s씨5， the bunker's interior
provided challenging lighting
problems
Seamus McGarvey
inside and still the slits wouldn ’t burn up too 17 Lighting diagram for bunker
rape sc ene
much. 1 asked Michael Carlin to put this 3 ft
square aperture at the top and 1 thought it 18 Tom approaches the
bunker
would be appropriate to have this dark altar
effect. There was almost a ritualistic aspect t。 19 Tom comforted by Jess in
this scene that was really horrible. 80 1 put this t he bunker
6K HMI Par light through a soft frame which
projected through this 3 ft apeηure in the set
and 1 didn ’ t use anything else inside except lor
some small Kinos for eyeligh t.
Everybody really shied away from the bunker
rape scene , until it was upon us. We sat down
and tried to plan it and Tim was as afraid of it as
we were. In the end we did it and it was horrilic
We did take after take after take. When we
went in for close-ups , 1 had a Kino-Flo on a fluo-
rescent tube that 1 would run in a few inches or
|’ d slide a little bit of paper in to bounce light ,
overexpos l r빙 it on the top of the head and then
run out again. 1 had to have lighting that allowed
me and me alone to move it around , because it
was going to be a totally closed set. It was all
shot on Kodak 500T 5279. In the end , the
boom swinger [8teve MayerJ was in tears and 1、
v'
so were Baz [focus puller] and 1. And 1 was very 8“’Jιg/l..
worried at that point in the lilm about what we
were doing and why we were doing it. 1 think it's
1껴쩔~켠_'t，.，，，， ~. . ..,...I‘-‘
worked out okay in the end , but 1 felt that at that
point we had stepped over the threshold of
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what should be done to gain a performance , or
what was acceptable to photograph. Poor Lara
was so exhausted after it that the day was can-
celled and we all went out to the pub , this was
about 12 0 ’ clock in the afternoon and we spent
L뿜
the rest of the day there
17
19
ìeamus McGarvey

게 igh Fidelity 1 High Fidelity clapper board

2 Rob (John Cusack), 8arry
~OOO Oack 8Iack), Dick (Todd
Louiso) and Ray (끼 m Robbins)
in Championship Vinyl under
Normally what 1do is sit there on the set at 8
。 ’ c l ock in the morning and 1have to plot out
the lighting while the actors are rehearsing a
scene. 1have to think , well if they go from there

,
tungsten-balanced and go there , 1’11have to key from there and 1’11
)irector fluorescents have to have a mixed shot that w ill track to
tephen Frears there. 80 there are all these decisions being
made , but firstly you must decide how to cover

,
기 nematographer
eamus McGarvey
~amera operator
the scene photographically, how you can sug-
gest this to the director and keep some integrity
to the lighting , because the director may want
to shoot the w hole thing in one shot. You ’ re
making all these decisions , so it ’s a very live and
3teadicam exciting scene , that fifteen minutes when you
Nilliam J. Nielson Jnr rehearse.

=ocus puller 1think that High Fidelity is a good film , but 1felt
)avid Morenz that it was a slightly missed opportunity in terms
of the visual feel of it. We started off with all
3a付er these plans and 1wanted to have something
James A. I\t1 iller that was a little bit poppier and that had a more
pronounced and stylised camera style. It was
(ey grip about music and it was about straight to cam-
~rt 8artels era stuff. The w hole script read like it should
have a lot of w hip pans and a lot of track-ins.
::>roduction designers We started doing that and 8tephen Frears really
hated it and he cut out all the ones that we did
)avid Chapman do. For example we would go racing up to
rherese Deprez John Cusack (Rob) on a 17 mm lens coming

out of one location and he would say something
to camera and then the camera would pull back
again. It was so exciting in the rushes , but
Stephen hated this because it would take time
to set up and he would get annoyed if anything
took longer than fifteen minutes to prepare.
까1e record shop and the flat of Rob and Laura
(Iben 비히 le) were built on one stage. The
apartment set was built one floor up , about
15 ft , so that we could look out of a w indow
and we had interchangeable Rosco day and
night Translights on rai ls , back-lit for night , front-
lit for day. The fluorescent lighting in the record
shop was balanced for tungsten and 1 had
Space Li ghts for the exterior, which are big soft
silked lights. 1 made them quaηer blue (CTO
blue) so that the exterior had a cooler soft
daylight quality. 1 had big hot overexposed lights
coming through the windows and then 1 left the
interior tungsten marginally warmer. We
designed these lights as commercial fixtures
and put balanced tungsten fluorescents in
them. We used a Panaflex Platinum w ith Primo
lenses and Kodak 200T 5274. 1 leamt my les-
son on the interior set-up , because there were
Seamus McGarve
찌 '1 π 앤 V 냥빼"\' -
too many lights and the fluorescents spread
everywhere and they were uncontrollable. It was
however useful in a way because 8tephen had
said to me that he wanted to do shots that
could follow actors around all over the place
and this allowed him to do that. It had a good
exposure all over the se!, but it did inevitably
lead to a flat look.
Frears almost did the rain effects as a wicked
thing. He said that “ Nobody ever sees rain in
HOllywood films. However we spend our whole
lives in England shooting films in the rain. Now
you lot are going to suffer the rain" and boy did
he make it pour. Actually he had comedy rain ,
because it was not rain but hosepipes , coming
straight down when Rob makes the phone call
。 utside Laura ’s fla t. Li ghting with big rain like
that is not easy at all. Every drop catches a
back ligh t. Everybody says you have to back
5
light rain and then you see the rain and it is so
3 Stephen Frears behind 4-5 Rob in carefully oack-lit
ferociously back-lit that it looks like snow. 80 1 camera, McGarvey, Oavid ram
used a small amount of back ligh!, just enough Morenz and D.V De Vincentis
filming Rob and Sarah (니 liTay­
to catch the rain and softened it with a big silk lor) by Lake Michigan . McGar
frame with light through it. With a broader vey coped with the scene‘ s
source the rain doesn ’t pink out like crystals. bright sky by tarnishing a 85
filter
Seamus McGarvey

Enigma 1was very worried that Michael Apted would fire
me in the first week of shooting . 1experience
2001 this fear on all the films 1have worked on. 1think
|’ m not good enough and that ’'s how 1strive to
do my very best work.
Director
During blocking Enigma , Philip Sindall [camera
Michael Apted operator] and 1would sit in the corner and
Ci nematog rapher Michael would constantly refer to us and say “ Is
this alright gentlemen? What should we do?
Seamus McGarvey Does this work for you?" as he was staging the
Camera operator choreography of movement. He was very alive
to those wonderful connections between people
Philip Sindall and the unexpected that happens on a set. It
Steadicam could be little moments , a look or things that
happen between takes. He ’ 11then absorb this
Paul Edwards and roll it into the fabric of the scene. In Enigma
Focus pullers there are some scenes that are quite wordy,
that really required a very thoughtful approach
Johnny Jordan at the blocking stage , fusing the choreography
of the actors , the script and the movement of
Carlos de Carvalho the camera. During the twenty-minute morning
3affer rehearsal period all those things are fitting into
place so you ’ re constantly merging all of
Lee Walters these aspects in a very fertile and concertinaed
<.ey grip period
3ary Hutchings |’ ve operated a lot of times in previous films and
그 roduction designer then suddenly 1started working with , in my
。pinion and that of many others , two of the best
John Beard 。perators ， Philip Sindall on Enigma and then
Trevor Coop on Wit. Sindall precisely marks
every lens , every f-stop , every camera move on
his shooting script and is so thoughtful about
every shot and what it means. Sindall ’'s great
phrase is “ That ’'s a good shot Seamus , but is it
the right shot?" Camera operators see things
you don ’t see , they attempt certain movements
that 1just wouldn ’ t try and they fine tune them ,
so working w ith an operator, 1find that my
frames have more finesse. 1tend to stay really
close to the camera , but there are obviously
things that you just don ’t notice , if you ’ re not
looking through the camera. The operator's eye
is Up against the frame and they ’ re scannlng
and seeing the film like nobody else on the set ,
they ’ re actually seeing it as an audience of mil-
lions will see it. The position of an operator is so
privileged as so much can be filtered and
enhanced . At that moment when cut is called , 1
can tell the outcome by looking at Philip or
Trevor as they take their eye from the viewfinder
- just that wordless physiognomy. It ’s also
absolutely essential that the relationship
between director of photography and ga야er is
close. There must be a tacit understanding
because the right decisions have to be made so
quickly and so efficiently. 1’ ve worked with Lee
Walters [gaffer] for about eight years. He has
also worked with many other cameramen and
he’'s like a hunter-gatherer. He goes out and
steals ideas from other cameramen , brings
them back and we use them!
From the outset , we knew that Enigma was
going to have a classic quality, ceπainly in terms
of the time that we were trying to portray. It was
essentially a thriller in a traditional mould. At the
earliest chance we had , Apted and 1opted to
shoot in the anamorphic format as we were
going for a w ide-screen look. 1exposed the
return of Tom (Dougray Scott) to Bletchley Park

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An example 01 Philip Sindall ’s

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lnotated shooting scrip t: Tom
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introduced to his lellow
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4 Tom and Hester’s car
lase storyboards
2

3 The car chase from Sinda ll's and the present day footage scenes on normal
annotated shooting script
Kodak 200T 5274 stock balancing the exteriors
5C녀 ire (Sa ffron Burrows) with an 85 fi lter and night-time scenes on
에 med on Fuji F400 with 10 Kodak 500T 5279. I asked for a slightly cooler
denier Christian Dior classic
filtration grade on it , with a little bit more cyan , and I
overexposed it by about 1/3- 1/ 2 of a stop
6 The return of Tom (Dougray
Scott) to Bletchley Park, filmed
depending on the location. I was working with
。 n Kodak 200T 5274 quite high printer lights , on an average of about
38-40 which tends to send the shadow areas
deeper than they might normally go and
decreases your latitude and makes for a slightly
숫-!:i. more contrasty image. I didn ’t use any diffusion ,
we had Primo anamorphic lenses , which have a
very sharply resolved , almost brittle q니 ality.
J--- I wanted a kind of halation on the highlights for
Tom ’s flashbacks , as though his memory of
Claire (Saffron Burrows) is seen through a
gauze. As a way of replicating that , we tested
stripping the film ’'s anti-halation backing coπ1-
bined with polishing the pressure plate in the
서 gate. We also considered doing the flashbacks
with C lenses which are slightly softer, but we
decided that combining lenses would have
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Seamus McGarve)
been difficult in scheduling and budgetary terms
and 1 also wanted continuity between the vari
ous shots. We opted to go for Primo zoom
lenses netted with the 10 denier Christian Dior
classic. These tights have been discontinued
since the 1970s but 1 bought about twenty
when 1 was doing pop promos and I use them
from time to time. Then 1 suddenly realised how
valuable they were and sought after by cine-
matographers. Now 1 have only five pairs left ,
one for me to wear in extra large and then the
rest to photograph with! Normally on a Prime
lens you can just put the black stocking over it
with a wee elastic band , but with Primo
anamorphic , these have to be glued down with
nail varnish or snot tape. It ’'s a very fidd ly
process because the element is so bare at the
back of the lens. Every time we were in f1 ash-
back mode , Carlos De Carvalho [focus puller)
was like “ Oh , no! " It ’'s a good forty-five minutes
to an hour job , to do it on several lenses , so we
decided that it would be the same degree of fil-
tration for both Tom and Claire. We did exten-
sive testing on Kodak 500T 5284 Expression
Seamus McGarvey
7 Tom centrally framed on
t he tra in
8 Wigram Oeremy Northam)
framed to the far right of the
frame
9 Terry Wal ters' 40 x 60 silk
suspen ded by two 100 ft
construc tìon cranes
and also Kodak 320T 5277 low contrast stock
before deciding to shoot the flashbacks on Fuji
F400 which has a lower contrast , more pastelly
look and that combined with the black net filtra
tion gave it a more diffused , distant fee l. 1 also
underexposed it slightly to decrease the con -
trast further so that we printed at lower lights
averaging 23
The confrontation between Tom and Wigram
(Jeremy Northam) on the train was shot in Ams-
terdam on greenscreen ‘ My priority with that
was working with an interactive lighting system
Wigram had a very pronounced body language
and was framed really far over, to the right or left
frame peripheral , occupying lots of space , so
his gaze had a push , whereas we had Dougray
more centrally framed. \Ne had a carriage built
on tyres that was being rocked around and 8 in-
dall was doing his bouncy operating , rocking
the camera on a spring-stabilised head. Outside
we had a 1OK on a track being pushed on a
dolly moving up and down and jibbing , as if the
train was going round a track. The angle of the
light would be tracking and if it tips around a
corner it would raise up and down. That was
creating a hot spot that was migrating around
Tom. In front of that, we had what 1 called
'sparks aerobics ’ - electricians gyrating these
bushes or cookies around , take after take , to
give a sense of movement. The poor sweating
sparks were under these huge lights together
with the hot greenscreen lights blasting and they
were all boiling up ‘
The night-tirne submarine scenes were also
greenscreen. We did them at Pinewood exterior.
1 didn ’t realise that they were going to make
those sou ’ westers so shiny and it worried me ini-
tially when 1 saw them. 1 had to change the hard-
er source 1 had pre-rigged because the
sou ’ westers kicked back so much light. It was a
real kickball scramble for me , so Lee and 1
designed the ‘ 36 double 0 ’ Lee and Roy
Branch built it along with Arri lighting. It consisted
of 36 Par lamps double diffused with a 12 x 12
silk and in front of that we hung another 20 x 20
silk. 80 it was a huge soft source , rather than a
point source. 1 wanted to give a sense of moon
light through cloud with sufficient back light. The
sou'westers would be picked out on a reflective
level and then we lit the greenscreen and the
CGI people put in the rest. Th e 미 ght-time sub-
marine scenes were shot with a Tiffin Mono-
chrome day for night without an 85 filter, under-
exposed by a stop and a half which matched
our night e차eriors . With proper underexposure
and correct printing down , you don ’t get an over
contrasty dark , gritty print , you get a lovely char
coal gradation with good shadow detai l.

12
13
12 The submarine rushing
through the water at 60-75 fps
13 The submarine set at
Pinewood Studios
Seamus McGarve)
10-11 Antony Hunt and Jose
Granell 에 ming the 80 ft model
submarine off the Isle of Wighl
We were shooting over several days in the
summer at Pinewood on the south facing tank
that had to matclq the exterior day submarine
shots that we ’ d shot in 8cotland in Oban in
overcast conditions. We were in a greenscreen
arena that had to have overcast light , but 1
knew that we could not bank on that , so 1
ordered Up this 40 x 60 silk which the produc-
tion initially balked at. Lee ’s father Terry Walters
decided to make it anyway, knowing that he
could sell it or hire it ou t. Then , on the first day
of shooting , it was blue skies in Pinewood and
we couldn ’ t shoot. We had the silk but we had
no way of rigging it , so production organised
two 100 ft construction cranes and a Toblerone
rig to be made up. This was made of rigid trian-
gular ladder beams that don ’ t bend , so that
they can take 60 야 of tubing. We were thus
able to shoot in sun and match to previously
shot cloudy footage. Its ~5 ， 000 cost was paltry
considering we ’ d blown nearly ~1 00 ,000 not
being able to shoot the day before , except
doing cutaways of Dougray ’'s hand and a cou-
ple of shots around the submarine
1 was very happy with the extraordinary subma
rine composite work done by The Mil l. There
are a couple of shots that slightly betray their
CGI origins , but generally those shots are so
much part of the flow of the film ’'s final
sequence that 1 think the eyeball and brain for-
give this. Antony Hunt and José Granell did so
much testing and researched the submarine
sequences in fi lms such as Das Boot (Wolfgang
Peterson , 1981 ) before building the 80 ft
manned sub and taking off to the Isle of Wight
They did "dry wet" runs and would send
footage back to us while we were shooting. 1
would look at an 80 ft sub supposed to be a
400 ft sub shot at 60/75/ 100 fps depending on
the wave movement and 1 think the most suc
cessful was 60-75 fps. This gave that sense of
the grandeur and you get the water rushing ,
drawing and drying off the sub.
John Beard [production designer] had a big
wαry that we couldn ’ t build the set for Hut 8 on
a rostra and have a whole vista of Bletchley
Park from its windows. 80 he said , "Why not
Seamus McGarvey
build a blast wall around the building and that
way, you ’ ve no vista. " And 1said , “ You ’ re
absolutely right John , but you ’ ve cocked up my
w hole lighting plan!" But 1decided that 1didn ’t
want to have direct big shafts of light coming
deep into the room . People by the w indow
would get direct light , but within the room
there ’ 11 just be a more ascetic calm . 1wanted
very hot sources coming down and bouncing
off the floor, so the steep angle actually worked
in the new lighting plan. 1also needed some
kind of soft projection through it , from the side ,
so John provided slightly nicotine stained blinds ,
which would catch these hot lights coming
through the window and then provide a side
soft key. It also meant that when we were look-
ing at people looking towards the w indow , we
didn ’ t see off the top of the blast wall into the
studio beyond .
Because it was a very deep room , probably
35 ft across , there wasn ’t enough light to bring
up the level in the room , so all around the cen-
tral part of the ceiling we had panels of
unbleached muslin built , taking our cue from
Gordon Willis ’ top lighting in The GOdi쉰 ther
(Francis Ford Coppola , 1972). Obviously 1didn ’t
want it that extreme because he had no fil ler, 14 Hut 8 with blast walls
but 1wanted to build up a soft ambience , so we 15 Bletchley Park’ s Hut 4 which
had Blondes shooting down through frames John Beard and McGarvey
and then through the warm , unbleached muslin visited in preparation for
Enigma.
which , underexposed , gave a sense of calm
and a good level , added to which there was the
hot light coming in at the edges of the room.
John designed the ceiling in panelled blocks ,
that we could take out , if we were looking up at
the ceiling from low angles and a corresponding
hard surface could be put in as required
For the night-time scenes , we looked at pictures
of old Bletchley Park. They had installed some
of the first prototype fluorescents and so rather
than use their fluorescent quality lighting which
would have been too diffused for lighting tables
scattered with bits of paper and stuff , we decid
ed to use lights that were apparently fluores
cents , but that had tungsten sources. These
would throw light down and then bounce back
up again , so that people would be lit from below
and on top. We supplied the bulbs and the
wires to the art department and they built the
Space Li ght Bulbs , each one 650W, four of
them per fixture. John put little flaps , dividers
down so that we could not see the source and
14
 Seamus McGarvey

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shooting sc ript
predominantJy Ijt by practicals

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they’d be individually switchable. He also paint
ed them a slightly grey colour inside so they
wouldn’t burn out too rnuch if you looked at
them , but they ’d still overexpose. The desk
lights were practicals with little 12 V peabulbs
that would give a bit of a glow on the face. The
lighting 01 all those night scenes was predorni
nantly from those practicals. The lights that
corne through the w indows when the blackout
is over and the boards come down , aren ’t
daylight sources but tungsten sources. 셰|
we did was blue them up slightly w ith 1/4 CTB
because the tungsten sources inside were all on
a dimmer down to about 2800 0 Kelvin and then
outside the w indow we had 10K tungsten
sources.
Seamus McGarvey

Wit 1 McGarvey takes an

incidental meter reading off
Emma Th ompson (Vi vian)
2001
2 Stua 끼 Wurtzel's detailed
isolation ward sketch

Director
Mike Nichols
Cinematog rapher
Seamus McGarvey
Camera operator
Trevor Coop
Focus pullers
Carlos de Carvalho
Mark Milsome
Gaffer
Lee Walters
Key grip
Peter Myslowski
Production designer
StuartWurtzel

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2

Mike Nichols said , “ ... there ’s going to be lots of
space , there ’s going to be air, there ’s going t。
be silence and there ’s going be lots of words!" 1
knew that with Emma Thompson (Vivian Bear-
ing). there would be a lightness of touch within
all this very heavy-duty stuff. The delivery would
have an effervescence and she would bring a
levity t。 이/it . 1knew that it Wo니 Idn ’ t be a depres
sive , clogged Up , wordy movie , despite its
subject matter.
Mike is one of these directors who effortlessly
solves things and moves a crew on very quickly.
There would always be something oblique that
he ’ d refer to , that would illuminate a problem
that you were trying to unravel and it would all
become clear. 1’ m sure Mike would be the first
to admit that there was a real symbiosis in how
he approaçhed the script with Emma and it was
re-written and tailored and chopped and
changed and fitted as we went along. Emma
also collaborated very closely on the fi lm. We
looked at his earlier fi lm , Who's Afraid of Virginia
Woolf? (1966) time and time again and it was a
@ real inspiration for us. It ’'s very difficult to keep
중결훌二二 二二
the integrity of lighting if you ’ re doing almost a
360 0 shot or a track down a corridor, moving
into a room and endin g' on a big close-up of a
major star like Emma Thompson. However
Haskell Wexler [cinematographer] just did this
so well in the way the camera moves between
rooms and in his integral , invisible lighting in
Who 's Afraid of Virginia Woolf?
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3 Mike Nichols’ earlier Who’ 5 Wurtzel ’ s storyboards of
Afraid of Virgina Woolf? Vivian tended by 5usie
(1966) inspired McGarvey on
Wi t. 6Wuπzel 's detailed sketch for
Vi via n’ s “ final room "
4 Vi vian with glass bricks
behind her in the hospital
room
6
Seamus McGarvey
At the outset, my closest relationship on any film
is with the production designer, collaborating
w ith them and seeing what their designs are for
the set and working through the various prob
lems that might be encountered. Stuart Wurtzel
[production designer] had worked with Woody
Allen [The Purple Rose of Cairo , 1985 and Han-
nah and Her Sisters , 1986] and he relished the
challenge of Wit because he ’ d done all that stuff
where you have to look in aU directions. Some
production designers get a bit sn 찌 when you
ask , "Is there any way you can build these
lamps into the set?" or "Can you give me a little
valance as we track back or a beam across so 1
can hide lights between it?" and Stuart was ,
like , “ Of course , tell me what yo_u need and 1’11
do it for you ." Weaving lighting into a location
was a great asset and Stuart built lights in for
us , he gave us a light by the bed that had a 12V
system , he created the glass bricks behind the
bed in the hospital set that he created in
Pinewood
1love Kino-Flo fluorescents when you ’ re working
in portraiture and a more confined environmen t,
but for broader spaces , they tend to just spill
everywhere and are very uncontrollable sources
We changed the lighting to look like fluorescents
and the art department built cavities which
housed the silver fluorescent lighting grids. But
above them , 1had tungsten sources shooting
down. There were probably up to 200 Blondes
in the whole of the hospital set , shooting down
-;=;- .......‘ E
rνι I커/ηJ
:;eamus McGarvey
7 8
through 4 x 2 ft diffusion frames. Stuart built a
little maquette of the set and 1was able to look
through it at eye level with a little Tewe [direc-
tor ’s viewfinder]. He also built this wonderful
periscope with a 45 0 mirror and suddenly you
were in the hospital corridor. You could see that
he ’ d put a ceiling on and 1thought , hang on , it
looks a bit boring , so 1asked him if there was
any way that he could build a cavity between
the wall and the ceiling , so that you ’ ve got a
hotter bounce streaking down a wall. And he
said , “ Well , we can , yes." So they built this and
we had a whole series of lights down the corri-
dor. There was now a line of soft light in the cor-
ners and that really lifted those corridors and
allowed us to create more graphic composi
tions , rather than having this down light with no
apparent source. The chemotherapy treatment
room was shot on a real location in Stamford
Brook Hospital in Hammersmith. We had to
shoot it within four walls , so 1used a blanket
light which is an extraordinary lamp. It ’s a mas-
sive 8 ft light with a grid almost like an egg crate
with 10-12 fluorescents. It can exist close up
against walls so you can get it into very small
rooms , but it gives a lovely side light and you
don ’t need another ligh t. So 1switched off all the
practical top lights and just had this big , soft key
from the side.
We didn ’ t want to use all that sweepy
Steadicam ER technique and we didn ’t use
Steadicam at all on the fi lm. We didn ’t want to
start getting tricksy as it would have got in the
way of the story and we wanted to create
integrity and believability, because if the film was
too coated , framed or over stylised it just would-
n ’t have had the emotional punch that it did. But
we did want moving cameras. 1asked Stuart to
build a trackable floor so that we could put the
dolly anywhere. We never used track in the film
which meant that the floor had to be a proper
dance floor and then covered with these tiles ,
flattened and rolled , which took a lot of time and
preparation. We had to use special soft rubber
wheels on the dollies so that we could move
around and track smoothly.
We shot on a 27 mm Primo for most of the
hospital rooms because it's a really lovely frame ,
but for the big close-ups we used the 75 mm α
the 100 mm Primo lens. Mike and 1talked about
how the television-box-framing would affect our
approach. A lot of the shots were straight to
camera , when you’ re looking at the intricacies of
facial movement , so 1did at an early stage say
“ What about Carl Dreyer’'s Joan of Arc?" - its
use of close-up was just extraordinary with the
camera ’s unremitting gaze. The scene shot on a
7 The camera ’ s " unremitting
gaze" on Renée Falconetti in
Th e Passion of Joan of Arc
(1928)
8 Vivian’s exalting ciose-up
skew angle at the moment when Falconetti ’S
pupils are completely constricted and pinned
out is , for me , the most amazing sequence in
film. When Vivian (Emma Thompson) is in the
bed and there ’'s a long , three and a half minute
scene , all in one shot , we kept saying “ Falconet
ti , Falconetti , Falconetti". Some people find it
very infuriating that the camera never moves
away from her, but 1must say 1love it , with
these out of focus people drifting in and OU t. It
gets you into Vivian ’'s world where the doctors
become like ghosts. We weren ’ t using the
close-up because you ’ ve got to fill the frame for
TV, but because it represents the sum or the
strength of the person and we didn ’t want this
little strip of flesh on a bed moaning away about
John Donne. We wanted to have this vital
person living every second until she dies.
There ’s something exalting about it and it ’'s not
diminishing. Sometimes there would be a big
emotional scene with playback to music , which
was really hea야 breaking ， you start crying or your
eyes well Up and you can ’t take your eye away
from the camera because you' lI fog the film , so
you’ re trying to wipe your eye on the eyepiece ,
you have to just try to divorce yourself from it all
As we were moving between day and night and
also working with a television format 1needed a

medium range stock. 1 wanted something slight
Iy softer and as we were going between flash-
backs 1 wanted to keep the same stock
throughout and not to have such a pronounced
shift as we did in Enigma. 1 chose the Kodak
320T 5277 which gave me the speed and con-
trast level 1 needed and its range allowed me t。
hold details in the white hospital. In the 1.33: 1
1v ratio , we framed Emma from just below the
chin to the top of the hair and then suddenly
you ’ve got the 1. 1 :66 film frame , which is just
above the eyebrows to just below the chin
Filming for both ratios was a constant bone of
contention . The television version is a little bit
more generous , so it was kind of a halfway
house between the two. Normally 1 work with
one frame and 1’ m constantly getting into
trouble because 1 tend to hard mask in the gate
of the camera. If we 're shooting 1.85: 1 , 1’ 11 hard
mask to 1.1 ‘ 66 so that it can only be shown on
1. 85:1. This means that you can be sure that
you ’ re never going to see the track or boom in
shot , because the racki ng is out in the cinema
Th e death scene was based on reality. In the
event of a DNR situation or a blue code where
there is a possibility of emergency life resuscita-
tion , patients are put in a room where there is a
Seamus McGarvey 1
12
spotlight above them that faci litates easy work.
This is a horrifically bright source like a Xenon
spotlight that is focused on the bed area. We
did a shot where the blue code team come into
the room and we see one of th em flick a switch
in the semi-darkness and a light comes on
which effects the change. There ’s suddenly a
perfunctory, clunky quality to the shots and we 13
placed the camera up on the ceiling for this kind 9 McGarvey wanted Vi vian ’s 11 Hospital staff scuttling
。，f celestial view on it. The life goes out of a death scene to have a similar around Vivian's lifeless body
look to Wright 01 Derby’s An
body, the face , the glint in the eyes , the speech Experi ment on a 8ird in the 12 Celestial 씨 ew o f 이씨 a n
and thoughts and suddenly you ’ re left with a Air Pum p (1768)
body and these pathetic characters scuttling 13 VivÎan's angelic ,
10 Vivia n’s reverie lit by 。 verex p os ed
close. up
around. 1 wanted a different quality of light and Leelium balloons
wanted it to look like Wright of Derby’'s An
Experiment on a 8ird in the Air Pump (1768) in
the National Gallery, where the figures look over
this li에e experiment of a dying bird in a bell jar,
all lit from belo w. At that moment there’'s a dra-
matic impetus to make a shift that ’'s out of the
language of our film , which has been very
realistic up to that poin t. We then went into a
sequence of the final portrait of Emma becom-
ing more and more overexposed , angelic , with a
face of alabaster, so it would gradually fuse w ith
a black and white portrait of her full of life , for
the final shot of the film taken by the stills pho-
tographer, Clive Coote
Seamus McGarvey

The Hours
2003

Director
Stephen Daldry
Cinematographer
Seamus McGarvey
Camera operator
Philip Sindall
Focus puller
Carlos de Carvalho
Gaffers
Lee Walters
John Higgins 111 (Biggles)
Key grip
Gary Hutchings
Production designer
Maria Djurkovic

We tracked in very slowly towards Meryl 8treep
(Clarissa Vaughan) as she broke down in the
kitchen and suddenly in the middle of this four
minute take , a little squeak started . It got louder
and louder as the film came slightly off the reel
and started rubbing against the side of the mag-
azine. Meryl was trying to give her all, but this
thing was going on and 8tephen Daldry was
over by the monitor, mouthing (what ’s that
noise?). Everyone was looking at each other,
while Meryl was trying to maintain concentration.
1think that it was one of the last takes and she 1 McGarvey discusses a 1950s
scene with camera operator,
was already exhausted and spent , but it ended Philip Sindall
up being the best one. The sound people did a
2 The breakdown 01 Clarissa
really interesting thing in the dub and incorporat-
(Meryl Streep)
ed the camera squeak into the noise of her jan-
gling bracelets from a preceding scene. 80 that
when the sound re-occurs , it doesn ’t seem out
。f place , it has been hinted at before.
During the first day’s dailies , 1\l1 eryl just turned t。
me in the screening room , took my arm and
 Seamus McGarve}

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different periods and their photographic repre-
sentation and at the same time knitting them all
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movement should be subtly echoed in each 01
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between heads 01 depa야 ment i.e. Anne Roth
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were hovering together at the one time as
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some sort 01 parallel worlds and that the three
main characters' lives were all very tangible. It
wasn ’t a dreamy dissolve into an imagined ;;(.1 ('r)1\ 냥、ξ l:nb l<e . "1::)G/) pvh
past, but it had to have a visceral quality as well
as a period leel. We recorded everything on 「각
Video 8 on a little Combi monitor that you could 4
play back and store. We had a library 01 every 3 The " Streep light “ in action . 4 The para l1 el actions of
C larissa and Laura from
single shot , so when we were shooting the
Sinda ll's annotated shooting
flowers being lifted Irom one scene, knowing scnpt
that three months later we were going to be
152 Seamus McGarvey

5-6 Clarissa and Virginia 8-9 The constricted domestic

(Nicole Kidman) echo each space 01 AII That Heaven
。 ther ' s actions in the opening Allows (1955) inspired the
sequences. 19505 scenes

7 The contained wide shot 01 10 The Richmond railway

Dan Qohn C. Reilly) , Richie
Qack Rovello) and Laura
(J ulianne Moore) at the
b i 이 hda y paπy.
scene with Virginia and
Leonard (Stephen Dillane),
which required CGI work on
Nicole Kidman 's prosthetic
nose

doing a similar shot and might have to match
positions , we put a piece of cellophane over the
image , masked it off and then with a China-
graph pencil outlined the shape of the frame ,
putting in the other tape and seeing how it
would work in cutting terms. It was like a very
crude mix and overlay, but it really helped
compositionally with making sure that the size
of the flowers wouldn ’t be jarring or the position
wouldn ’t overlap and they ’ d cut together well
We always tried to find moments , props or
camera movements that would be echoed
between the eras. For instance , we ’ d do a
similar track or even gesture between shots.
The opening sequence is the most pronounced
in that way with Virginia Woolf (Nicole Kidman)
and Clarissa washing their faces , Meryl goes
down and Nicole comes Up. Although we didn ’t
use storyboards , these shots were really
planned out quite precisel y. The shots have a
musical quality to them and Angela Noakes
Wharton [script supervisor] would give us the
timing of the previous shot. For instance a track
in to Virginia writing was shot on a 21 mm lens
and then we'd do the same shot going in to
Laura Brown (Julianne Moore) preparing to
make a cake with her kid. If you cut from a 21
mm to a 50 mm lens the e什ect is jarring , but it
feels as if you ’ re travelling through the same
tunnel if you cut using the same lens and on the
move. We always had a strong notion of the
internal meter of the shots
In shots of the different characters' homes , we
usually tried both in design and in camera
placement to have different layers of space and
to look through things. 80 if we're in Clarissa ’S
kitchen , the wide shot will narrow into the corri-
dor and th en will open up into the far distance
into a sitting room. 8imilarly in the opening
scenes in Hog aπh House , you're looking down ,
but there ’'s a foreground elemen t, there’s stairs ,
there ’'s a little room and then you open up into a
big room. The 50s sequence invoked AII That
 Seamus McGarvey

11 The Los Angeles green- 12 The Richmond railway scene

screen tests filmed in London.
McGarvey had already filmed
background plates in Miami for
the 19505 car interiors and
“ thought the look ’s slight artifi-
c iality was excusable, given th e
time period."
from Sindall ’ s annotated s h o。ι
ing script
13 Virginia argues w;th Leonard
on the station platform “ Nicole
was exhausted by the time we
90t to the close.ups and some
digital work had to be carried
。 ut on her eyes because they
were 50 bl ood sho t. "

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11 13

Heaven Allows (Douglas Sirk , 1955) in its slightly
constricted space. A wide shot always had a
door jamb on either side or had a piece of furni-
ture in the bottom right of frame , so you never
got an overview. We filmed a big , wide shot of
the birthday party over the furniture which gives
a sense of containment because they ’ re sitting
around the table contrasting with the dark and
reflective floor
Our filter and stock package and the way of
exposing it was informed by the use of Deluxe ’s
proprietary bleach-bypass process , ACE. In the
end , after extensive testing , we settled on a fif
teen percent ACE process on the interpositive.
This process increases contrast and de-satu-
rates the image , but it also reduces the latitude ,
so highlights in the face bloom a little and shad-
ows fall deeper. It has a sort of blanching effect
on skin , which makes the skin look a bit opales-
cent and slightly marbly. It linked the women
between the different eras , because they have
got different skin tones in reallife. Initially, there
was a thought to shoot the different sections on
different lens systems , but in the end we kept to
Primos throughout and 1 opted to differentiate
the sequences with stock , exposure and lighting.
Nicole ’'s prosthetic nose changed her face
completely and 1 think that she was glad of
props and costume that allowed her to inhabit a
different role. We did an enormous amount of
tests and we all agreed that the nose did help to
create a slightly more eccentric look for Nicole ’s
face. 1 had to use much softer sources , more
frontal light on her and 1’ d just keep a close eye
。 n the prosthetic ’s reflectivity. 1 had to ensure
that if we were shooting exterior and it was get-
ting hot or she was under hot lights , that any
sweat didn ’ t create undue shine or a shift in
tone between the nose and the face. The prob-
lem area was the bridge of the nose , between
the two eyebrows , where there is the most
movement. It was after a lot of facial expression
α eye movement that all the cracks started to
4 Seamus McGarvey

14-15 Vi rginia ’ s drowning 17 Vi rginia's trailing hand filmed

sequence shot with a Primo
4-1 zoom on a craned remote
head.
16, 19 McGarvey’s Sunpath
meter and daily readout for one
。f the New York scenes.
in the Pinewood tank. "We shot
the underwater drowning scene
for three days. Some of it was
very, ve이 graphic."
18 이 r9inia ' s drowning scene
from Sinda ll' s annotated shoot-
mg scnpt

15 17

appear, which required constant retouching. The
biggest problem was when emotion was raised
in her face and as the rest of her face flushed ,
the nose would stay waxy grey like a candle
When we did that huge scene at Richmond rail-
way station and she says , “ If it is a choice
between Richmond and death , 1 choose death"
and her face just went bright red because she
had reached such an emotional pitch , we could
n ’t reatly ask her to do that again , there had to
be a little bit of CGI work , i. e digital enhance-
ment of the nose in order to redden it slightly,
which was done britliantly by a company catled
Double Negative. Nicole ’'s hat was also a bit of a
lighting gift for me because it prevented direct
top light fatling on the prosthetic nose.
For the drowning sequence , Nicole submerged
herself in the real river and also did all the
underwater shots . Initially the river looked too
calm and not dangerous enough so the special
effects supeNisor, Stuart Brisdon , submerged
these three or four huge turbines under the
water which created turbulence and actually
changed the course of the river for the duration
of the shot. We were very lucky with the wide
shot of Nicole in the river as the sunlight broke
through the trees in a beautiful dappled effect
There ’s also something vaguely beguiling or
atluring about the water‘ We shot this on the
Primo 4- 1 17.5 mm-75 mm zoom so that subtle
adjustments could be made to the focal length
immediately priα to executing the shot. We
knew that the sequence was going to be a one
off as the reset time was three hours for atl of
Nicole ’'s prosthetic make-up
We went to Miami to shoot the 50s sequences
It had the sun in February, the vegetation , clarity
in the air and the period buildings. 1 used Kodak
320T 5277 which gave me much more range
so that 1 could hold the contrast between the
skins and work in very sharp sunlight. 1 rated the
stock at 400 which was effectively underexpos-
 Seamus McGarvey

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ing it a little bit and 1wanted to print at lower

/@강 줬 ￥강 printer lights averaging 21 or 22 which gives

you a lower contrast print. I'm used to printing

1않
up in the mid 30s , so you ’ re effectively wαking
( ' with a thinner negative with lower contrast and
a gentler gradation across the tones. 1al s。
used 80ft Effects diffusion and Ultra Contrast fil-
ters in the 50s scenes , which further reduced
contrast. In addition to what 1was doing with
the stock~ ， this was another layer of taking the
γ 、~ solidity out of the blacks and making the high
-￥핑 lights a little bit more milky. AII this was done in
the knowledge thåt 1\Nould be printing with the
ACE process. Instead of using CTO gel to
warm lights up in the interior 1went more with ,
CT8 , which is a straw gel , which has a little bit
more yellow than the red of CTO. 1thirik that
tended to fit better with the interiors , particularly
with the night-time party scene when little

응켠￡
Richie (Jack Rovello) , Laura and her husband
“7 。거꺼 {John C. Reilly) are all sitting there with the
75(/')(η cake.

We shot the drowning dream of Laura after a

real ly tough day. Julianne had to go back t。
New York that night , so we were against the
clock. 8tephen came up with this dreamscape
and 1really liked the idea , but technically it was
Ler an extremely difficult thing to p비 1 off. We spent
-꺼이 a lot of time planning it with 8tuart Brisdon and
working out how all the departments could
work together and achieve this . When we came
to do the deluge shot , we shot it in a tank at
Pinewood. The hotel room set was built on a
hydraulic scissor lift. We had a scaffold rig
above attached to the set with a camera look-
3 Seamus McGarvey
20 Laura ’ s entrance into the
hotel room from Sindall ‘s
annotated shooting script
21 Julianne Moore and
Stephen Daldry on the
drowning dream location
22 Laura about to be deluged
in the hydraulic hotel room set
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20
ing down directly. There was a little cavity
beneath the bed to allow the water to rush
through as the whole rig descended into the
tank. 1fixed all the lights to the platform set, so
that the shadows wouldn ’t move as the plat-
form 'went down. We had another camera with
a housing shooting across Julianne in profile
We coloured the water with a greenish brown
food dye and added little bits of water weeds ,
because tests had shown that clear water didn ’t
really register So well or feel like the river. When
we did various tests with a stand-in , we realised
the force of tons and tons of water just lifted her
right off the bed so she was fastened down with
a belt. We worked out that 60 fps looked bes t.
2001 - boldenrod Revisi.이‘ 6"
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We only did one take with Julianne and it was
perfect , although her prosthetic tummy came 011
a little bit , but we cut out of it before that
There ’'s a scene where Virginia is writing when
she has this final epiphany and one of our Arri
650 lights on the floor, which was creating a low
fill , blew. Suddenly all that was left was the
practical lamp on the table and also a back light
that 1had on. AII 1had was a little catch light for
the eye , which looked interesting. However, 1
thought it was a little bit too dark and because
this was a big moment in the film , 1said , “|’ m
going be a minute while we replace this ligh t."
and it was Scott Rudin [producer], who was

24
there by the monitor, who said , “ Come on. It
looks great. Be brave!" We shot it dark and rim-
lit and it is one of my favourite moments in the
film. There were all sorts of different things at
play lor the meeting between Clarissa and
Laura. Meryl had to look fantastic and 1 didn ’t
use the ’Streep light ’ lor that , because it was
such a broad source that it was only useable in
mid shot and some close-ups . Instead 1 had a
lamp very close to camera , like a 650 through a
250 Irame and then 1 had nets and flags taking
it 011 her lorehead. 1 used the lightest Classic
80ft Dillusion and 1put in a 3/4 back light on
her and everything had a warmed-up quality. 1
used Kodak 500T 5279 throughout. That first
reveal 01 Laura Brown wben the door is opened
was important and 1 used a 3/4 top light that
picks out all the lines on her face. 1 also had a
Dedo eyelight just below the mattebox , rather
than on top because in rehearsals she played a
lot of the scene looking dow n , so if 1’ d had the
eyelight just above the camera it wouldn ’t have
glinted in the eyes. It ’s nice because when she
looks down you really get a sense of thought
We had to reach a happy medium of selling the
fact that she ’s aged , that would reveal her
wrinkles and it would still look good and match.
the reverses . When we shot Laura Brown in the
1950s section she was pregnant in the script
and Julianne had to have a prosthetic tummy,
Seamus McGarvey
23 Clarissa lit with the lightest
Classic Soft Diffusion
24 Julianne Moore as the older
Laura Brown , lit with a Ded。
eyelight and with less diffusion
to emphasise wrinkles around
her eyes, neck and forehead
25 On Scott Rudin’s prompt-
ing , McGarvey shot Vi rg inia ’s
final epiphany dark and rim-lit
’ i빼
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25
but when we came back to re-shoot her as an
。Id woman , she was actually pregnan t. That
helped to create the slightly added weight of an
older lady and also her face was fuller. Once
they ’ re sitting down , the reverses have a differ
ent quality, although the light is coming from the
saπ1e source or same side. Laura ’s source IS
less diffused , harder, with more shadows. It was
designed to pick out more of the wrinkles
around the eyes , neck and on the forehead. 1
wanted this scene to have a much warmer,
more rounded feel and also to have this light
and illumination between the two characters ,
this sort of understanding whereas before you ’ re
looking into people ’'s very self-absorbed worlds
 /
/

Harris Savides

The Game
1997

Director
David Fincher
Cinematographer
Harris Savides
Camera operator
Martin Schaer
Focus puller
Julian Whatley
Gaffer
Claudio Miranda
Key grip
Michael Coo
Production designer
Jeffrey Beecroft
2 4

1have always told my wife when 1do a movie , 1
feel like a merchant marine getting on a tanker,
waving goodbye and saying , "1’11be back , 1’11
see you in six months." 1can ’t get that involved
in a project and work that hard on something
and have the demands that are put on me and
be this other guy when 1get home. 1can ’t , it ’s
hard , 1have a personal life tOO. 1try to relax , but
sions with the director and finding out what he
wants from the movie narratively, what it means
to him , and on whatever levels , subtextual or
otherwise , he wants to talk about it. 1don ’t go
into a film with this fantasy in my mind of what a
particular movie is going to look like or how
beautiful 1am going to make it , without hearing
what the director wants That takes time , you
‘

1 Savides’ light meters used
during The Game “ 1 don‘ t put
a meter up and S8ι ‘ put the
camera at f-5.6 ’ A lot of the
time, that meter says E or
1here’ s nothing there."
2 The huge soft box made out
。f five 9-Fay lights creating a
big moonlight over the car
crash stunt scene
3-4 The Oakland Bay bridge
with a Musco light in the
distance “ It takes a lot of
preparation for a big ten
second stunt and then you
hear, ‘ Le t's do it again, A-Cam-
era didn ’ t roll! ’”
you can ’1, you’ re exhausted and you ’ re con
cerned , the monkey is still on your back.
There was a whole arc of emotional experience
during The Game's fourteen week shoot that 1
had never felt before. My body felt beat Up and
then it felt invigorated and then it would feel
beat Up again . Or we ’ d change location and
we ’ d be leaving 8an Francisco for Los Angeles
and a different set of intense feelings , emotional
Iy and physically, would come over me. AII the
time , you’ re feeding off locations and working
。 ut what you have to do within the schedule ,
together with your responsibilities and your lack
。f time as a regu lar human being
1coped with the multiple locations and exacting
workload w ith a lot of basic preparation . 1had
the adequate time to prepare , which was at
least eight weeks , if not more. 1might have
given some more of my own time earlier just to
get my head around things. Prepping a movie
involves reading the script a lot. Li ving with it for
a few days and real ly understanding each scene
and what you have to deliver. It involves discus-
can ’t just go into a meeting and walk away
knowing that. You need to let that stuff become
a visceral thing , it has to become second nature
to yOU. AII film-making is a process which takes
time , develops , changes and grows and eventu-
ally takes a life of its own or sets its own course
If you are prepared and know what you need ,
you are then willing to go with the punches or
what ’'s being given to yOU. You know what you
really need to walk away with to get that scene
and if necessary you can take advantage of
something that nature gives you , especially if it ’s
something that would be really hard or very
expensive to recreate. A lot of times you can ’t
do that , because you have to do coverage and
a scene takes a certain amount of time just to
execute. 80 you could look at this amazing light
and say, “ Welll ’ ve got to wait for it to go away
and do something ourselves." You can ’ttake
advantage of it. But the more you know and the
more prepared you are , the better equipped you
are , either to change things and manipulate
things to work in those situations or plug some
thing else in. For instance , in the scene where a
 Harris Savides

drugged Nicholas Van 0πon (Michael Oouglas) 5 Nicholas Van Orton (Michael
Dou9las) exits the Mexican
in The Game exits a Mexican cemetery after cemete이
waking up in a tomb , we got lucky with the
amazing quality of light there. We knew we had 6 Robert Redford (Bob Wood
ward) and Alan J. Pakula in AII
to be at the location at a certain time , but there th e President’ s Men (1976) ,
was a gift there that we did_n’t count on. Some- 。 ne of the films David Fincher
showed Savides before Th e
thing happened in the cemetery and we only
Game
got in a couple of takes and we were able to
take advantage of this.

Before The Game, Oavid showed me some

films. Specifically AII the President ’'s Men (Alan
J. Pakula , 1976) and Klute (Alan J. Pakula ,
1971 ), both shot by Gordon Willis. Oavid didn ’t
set out to copy them , 1think he just wanted to
show me them as the beginning of whatever
form we were going to take. They ’ re both stun-
ning examples of beautiful composition , but we
viewed them for their basic lighting. They’ re
beautifully lit but they arë also not overly photo-
graphic , which is something we were going for
in The Game ‘ At the start of a movie , you have
to make your set of rules as to how the film
looks and how you are going to shoot it. In
about two weeks you start freaking out
because everything starts looking the same or
you get bored with it. You have to stick with
that and stick to your conviction and just keep it
going ‘ The director of photography and the
director become the police , the protectors of
the look of the film. You have to keep that going
for 13-1 4-15 weeks and you can ’t let these little
voices change what you are going to do. The
film has to have its integrity and has to have its
씨sual voice. It ’'s a really hard thing to do , espe
cially coming from the commercials world ,
where every other job is , “ Make it look snazzy,
5
make it look photographic , make it look amaz-
ing , what eye candy can we have to look at
now?" Commercials are about broad strokes ,
whereas lilm is cumulative, made up from many
little things to give it a look. The restraint is the
ha띠 thing to deal with . AII our wide shots were
filmed on the 27 mm lens and the close-ups
were on the 75 mm lens. It gives the movie its
own palette and atmosphere and by driving that
across, it has this visceral integrity 1want to
impart on the audience. If you jump around , you
don’t have that. For many of the scenes in The
Game we used a single camera. 1’ m an advo-
cate 01 that and 1believe in the purity of one ,
a1though 1also like what happens when you use
two cameras. 1I1 could , 1’ d use a single camera ,
the actor knows what he is acting to and your
lighting can be a little bit more precise

Some 01 Van Orton ’'s flashbacks were shot on

the 16 mm Panavision cameras and it was the
first time 1had ever used them. The combina-
tion 01 those cameras and the 16 mm Ektra-
chrome film gave it a really nice quality. Some
6
Harris Savides

7 Polaroids of Van Orton ’ 9-10 Camera notes for the

flashback shot on a 16 mm Mexico and rooftop suicide
Bolex. scenes

8 Chance the Gardener (Peter 11 -13 Li ghting diagrams and

Sellers) in Being There (1979), polaroids of Van Orton‘ s sitting
which Savìdes and Fincher room
watched before lighting the
Van Orton mansion

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scenes including the birthday party were shot and not have you notice the photography that - \ -4 에 MÐ'- I "...A.Li
on Bolex cameras which have contrastier lens- much. Here , we looked at Being There (Hal ~ ~ ‘ "N 잉 ~‘-
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ended up pushing the film one stop for more was lower in contrast than other stocks avail- ~~_:X~fI' “

contrast and of course ENR ’ d it. The scratches ,
lines and the roughness of the film were
achieved in postproduction.
We wanted to keep the lighting of Van Orton 's
mansion on the hill beautiful, elegant and real
able at the time. It ’'s a more real looking film to
me and is the most filmic of their stocks. 1don ’t
like the sharpness , the super saturated colours
of other film stocks and their so-called ‘ better
black ’ However, now they have come up with
----.J
some higher speed versions of that which are
10
 Harris Savides

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wonderful. The mansion was mostly lit byaug -
;!;， C E3씨 ε 73 mented daylight , which is the way I generally
work. I take what ’'s there and embellish it , I don ’t
try to create that much. This is helped by Oavid
Fincher, who finds good locations that work for
ligh t. For the scene where Van Orton oversleeps
and he wakes up in his bedroom , I had to put
trace over the windows and keep that light con-
stan t. Together with daylight coming in , we
added Kino-Flos above the windows to bring
the light into the room. We used 18Ks outside
the windows and brought in a Mus-Ball if we
needed some fill on his face - a Mus-Ball is sim
ilar to a rice paper lantern , but made out of
muslin so that it could take a higher wattage
12
bulb. Most of the rooms in the mansion α the
San Francisco club are lit with Covered Wag
。 ns ， or we would call them John Fords as a
joke. They were chicken wire on batten strips ,
covered with muslin on dimmers. We ’d put
themall throughout the rooms and they were
ideal for lighting dark wood in Van Orton's sitting
room or club. We would use any combination of
bulbs in these Covered Wagons , from regular
household 25 W bulbs to theatrical bulbs like
211sor212s.1 ’ d generally mix them up and
skip a few sockets to avoid the lighting appear-
ing too even and fla t. In preparation for lighting
the graffiti scenes in the Van Orton mansion , we
kept hearing all this conflicting information about
Harris Savides

14, 16 Lighting diagram lor Van
Orton’s hallway and sitting
room wÎth graffìti
15 Va n Orton lit by ultra-violet
lighting
ultra-violet light and exposure. Fincher really
wanted to have this black light paint effect. 8。
we had these weird characters to deal with from
these Vegas/ Disney Worjd-oriented black light
companies and we would go and see these
strange lights. We did some tests and discov-
ered that Kino-Flo made a green bulb that had
a spectrum of light coming out that made the
fluorescent paint and the phosphorous glow
more than these black light bulbs , so we ended
up using these bulbs. We did also use some
black light speciality lighting , because of the on
and off effect that Fincher wanted in the begin
ning. We had special scrollers , that would be
black screen for a minute and then w hen the
cue went , they scrolled to clear gel
1 used Kodak 500T 5279 for the night-time
urban exterior scenes and always justified the
lighting on Van 0πon ， never wanting to impose
anything too stylistic on it. We underexposed to
1 1/2 stop , which is the norm for me. However,
as we were using the ENR process , we had to
be a careful w ith the underexposure. We were
also flashing the film a little at fifteen percent
w ith a Panaflasher. 1 have always had trouble
with the effect of blue night , 1 don ’ t get it, it’'s not
real and it always looks fake to me. 1 think it ’sa
trick that a lot of people pull - all of a sudden
you are in a night scene because it ’'s blue , or
blue light is coming from the window. To
achieve this , blue gels are put over the lights
and they shift the colour of whatever light they
are using towards blue or use HM ls. 1’ m always
a stickler trying to keep light clean and white
80 if 1am using a tungsten film , the lights w川 be
balanced cleanly, they won ’t have a colour to
them , especiallyat nigh t. 1 find it more realistic

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B Christine (Deborah Kara David wanted to keep Michael Douglas in top
and Van Orton
for the rooftop scene light a lot of the time , when it was practical and
then towards the end of the movie to open it up
scene lighting
a little to reflect the blossoming of his character
as a person. 1don ’t know how successful we
were in doing that , because we really fell in
love with this top light Mus-Ball. For the
final rooftop suicide sequence we had an
ambiguous half light on Douglas ' face. It was
a hard location and we had to do a lot of impor-
tant stuff in those few days. We were lighting a
lot of the buildings in downtown San Francisco
at the same time and there was a lot of
pressure on us to deliver that pivotal scene.
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Harris Savides 165
It was one of those series of nights where you
have dramatic acting that is hard for the
actors and that puts a lot of pressure on the
technical team to get it righ t. 1always hate
those kind of scenes , because when it ’s hyper
dramatic - in this case , Van Orton is killing his
brother, or has just killed his brother and is
then going to commit suicide - you are always
afraid to ask actors to do one more take , or
"can you hit your light this time? " , because
they have put so much into those moments.
Sometimes you have to accept that it wasn ’t
your best lighting for that shot, but it still works
dramatically.
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Harris Savides

James Gray sent me the first draft of The 염rds

The Yards .script w ith a recording of Maria Callas singing
2000 Puccini . He said , “ When you read the script ,
listen to this tape. " The first draft was a really
insane , operatic script about train yards. 1’ d
Director never seen anything like it. 1was at my house in
the country and 1was reading it and a storm
James Gray was coming in and Iput m y" stereo outside to
Cinematographer listen to this thing. 1’m sitting reading and it was
。 ne of the greatest days. 1had goose bumps ,
Harris Savides the clouds were coming in and 1’m listening to
Camera operator Maria Callas and reading this fantastic script
Bruce MacCallum On The Yards , the underexposure levels were
Focus puller insan.e. For example there ’s this scene where
Ellen Burstyn (Val Handl태 and Faye Dunaway
Eric Swanek (Kitty OIGhi 마 have a c hat in the kitchen which
• we had to re-shoot. The first time it was to。
Gaffer dark , so we had to re-shoot and 1can ’ t believe
John DeBlau how crazy 1was. During the re-shoot , 1couldn ’t
resist it and agairγI worked with the reflection of
Key grip the light on Ellen Burstyn ’s face. It was a reflec-
Gary Martone tive exposure , so her face had to be on the right
angle from the window and that ’'s why it looks
Production designer so dark. 1took the risk. 1think sometimes it is
Kevin Thompson 。 nly when you go further.than what you know
α what yo니 expect that you get something
that ’'s new, exciting and great. It ’'s easy for me t。
light you and get a perfect exposure , but to get
that not perfect exposure takes it to another
leve l. If you underexpose enough it ’s beautiful ,
1 James Gray’ s letter t。 2 Kitty (Faye Dunaway) filmed
Savides outlining the music t。 at an "insane underexposure - .o
you go t o far and you ’ re ruined and if you 9。
which The Yards screenplay level" too little it looks like a regular movie. There ’s this
should be read
really fin e- line you have to walk and often you
make t~e printer print up enough so he doesn ’t
like what he ’'s doing and what you ’ re doing is
technically wrong . 1knew going into the movie
fτrτ '11-
that it was going to be hard to sustain this over
the course of forty-five days and it would put a
lot of pressure on me to deliver that. 1had a
really great dailies guy at Technicolor New York ,
called Joey V, he helped me through some
sleepless nights
Looking at dailies is scary, but 1believe you have
to be scared. 1have this whole inner thing that
struggles all the time with that, it definitely gives
me the edge. It ’'s a thing 1have leamt to like and
use and it keeps me on my toes and always
thinking . It makes you a non-person in a waι
though. It makes you paπ 。f that monster that ’S
the merchant marine. So you ’ re going home
and you ’ re like , 1can ’t believe 1went that far
today, 1’ m not going to work tomorrow. And
then you do go and the dailies look good é1nd
it ’s like phew! One day 1changed the lighting on
Joaquin Phoenix (W illie Gutierrez) as the lighting
looked good to my eye. As soon as those
dailies came up , 1heard James Gray who 1
wouldn ’t generally sit next to at dailies , say,
"What ’'s different about this?" Right away he
caught it and 1said to myself , that looks like a
regular movie. A lot of the things you do when
you work this way look bad , underexposed , or
like mistakes in the dailies because there ’s no
music , there ’'s no sound and you don ’t have a
bookend of what comes before or after. You
have this dramatic moment of a guy and then
you see a slate. It ’s out of context and it ’s
underexposed or you don ’t know that he’S Just
lifting his head at the하ight momen t. It ’s a really
scary unnerving feeling , especially when the
producers are shuffling around in their chairs
But when you see it later, it ’s cut together and it

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 Harris Savides

3 De La Tour's The Penitent 4-5 Tests for Kodak 500T 5298

Magdalen (c.1638-43), one of film. The interiors were eventu
the paintings which Gray ally shot on Kodak 320T 5277
showed Savides as an stock
inspiration for The Yards ‘ look

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comes right after the scene leading up to and then you have to become very organic in 싼 ll~?'C' • íIJ - jJ
1;;.""
another scene , it ’s amazing your process of delivering it. Because you can ’t
think about it , you can ’ t over-analyse it , you
,
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James said , “ 1 want this film to look like ‘ The can ’t process it. You have to deconstruct these r hS-3 S' -2 시
→二:=::::-.....
Voluptuousness of Death '." And he showed me elements that directors give you , analyse them ,
r

6
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these Georges De La Tour and Caravaggio become very technical about them and then for I\l \ \
q s껴s- -/ •-lJ.--i- )/
pictures at the Met and said , "That ’s the Volup- get them. And 1know that ’'s what happened on ? ι~-I'/， ro //
tuousness of Death". After a while 1 knew what π7e 잉rds . It then becomes your thing. 1 think in !핑ζ - 2. f\l ,,/ J

he meant , it was a quality, a warm brassy tonali- this business you have to get good enough to
ι

4
ty, a darkness. It wasn ’ t a quality of light , it was forget what you are doing and only then does 4 r
4iι

1
an atmosphere. How do you transfer that? You your work become good. James' watercolour r
””
τ

”
deconstruct it , you analyse it. You have t。 sketches for The 임rds drove home the ‘ Volup- ”r
μ

”
become very surgical with your deconstruction tuousness of Death ' ’ they were stepping
5
Harris Savides
stones , catalysts , the beginning of an idea. After
we started shooting , he rarely spoke about the
movie , but 1felt that he always Rnew its subtext
and part of what got this across was ‘The
Voluptuousness of Death' - this focused , dark
kind of light reflected in the death of a man ’s
dreams or the death of a man ’'s world. like
Frank Olchin (James Caan) as his whole world
falls apart , everything he built , even his family.
At the time , Kodak was making fil m that was
sharper, blacker with more colourful greens and
reds , but we wanted to go back to a look of
film that would encompass this theme . James
taught me that there is no real black in painting
- no Kodak black. And he wanted these pur-
plish , brownish blacks and we had to try t。
figure out what to do. So one of the rules was
to use only te에 ary colours in The )-김rds ， to
make the film more monochromatic in colour
values and more de-saturated. We tested all
these different lenses , to find ones that work
together and have the right contrast and we
decided to use anamorphic Panavision C
lenses which were such a freaky set of lenses.
They ’ re milky, there ’'s a veiling to them that is
sometimes grossly out of whack. It looks as if
the lens is totally flared , so you have to weed
the really bad ones out and find a set that
matches. We shot most of the wide stuff on a
35 mm lens and the longer stuff was filmed on
a 75 mm or a 135 mm lens. In preparation for
The 임rds ， we also looked at The God.떠 ther
(Francis Ford Coppola , 1972) and The God.떠
ther Part 11 (Francis Ford Coppola , 1974). Both
films had a quality that we wanted to get. The
print of The Godfather that we watched was
unbelievable looking. There is something about
it that just transcends other films . It has this
creamy, painterly look , which doesn ’t look like
film. It doesn ’t look sharp or vivid and it ’'s differ- 7
ent than the stocks we have now, in the way it 6 A digital still 01 Frank (J ames
reacted to light Caan) with annotated expo-
sure levels. talking to Paul
Lazarides (Victor Argo) and
For the welcome home paπy of Leo (Mark Arthur M ydanick (5teve
Wahlberg) , we drew on elements from the paπy Lawrence)
scene in Rocco and His Brothers (Luchino Vis- 7 Frank and 에 llie (J o a q 비 n
conti , 1960). Not the blocking or the lighting , Phoenix)
but James just wanted to get the sense of the
paπy. Once we started and we were there for a
few days , 1was like , "1don ’t like the way this is
happening." 1was really unhappy and 1always
thought this was going to be the worst scene in
the movie and now it ’s one of my favourites. We
ended up coming back to re-shoot some ele-
ments of it. There were three parts to it: the
beginning party scene where the characters are
introduced; the scene where Leo comes home
 Harris Savides 1

and meets his mother and his friends; then the
paη where the policeman is introduced together
with the power cut. Th ere ’s a lot of different
elements and it was a headache moving from
warm tungsten to candleligh t. Rather than
blocking the whole thing , we just blocked those
isolated beats. 1got in trouble and was faced
with technical problems sometimes when all of
a sudden 1had to go into this room again and
there was candleligh t. 1felt that the blackouts
running through the movie were a little bit 8 Party scene lighting diagram 1 1 5a씨 des lighting the party
scene 에th candlelight
contrived and 1don ’t think they were executed 9 Erica (Charlize Theron) in the
well. 1feellike we should have not let them be party scene 12-15 Overleaf 5a씨 des used
so black. There was so much stuff , production Gray ’ s watercolour sketches
10 Erica and Willy in the party as key catalysts lor The Yards'
problems , that they were an afterthought and 1 scene look
think the film suffers for that as they are not
done enough , they are just there sometimes
and the actors don ’ t acknowledge them
Unfortunately the scenes in w hich the actors
talk about them were cut from the movie.

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톨훌 -주~ ASA: 츠츠강한
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톨ft)p:추노용

11
Harris Savides

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12 " 제 Granada Jr. announces the bids. "

13 "The c。이 rontat i on between Leo and the cop, Ofc. Rifkin , in the yards."
 Harris Savide~

14 “ Leo approaches Rifkin in his hospilal bed “

15 “ Raymond comes 10 gel Leo."

Harris Savides
16 Wi llie and Leo (Mark
Wahlberg) lit by rock n’ roll
Parcans and gelled lights in the
Club Ri。
17
17 The Electric Rail 1believe that you have to light a room and people
Corporation
inhabit the room. 1like to approach a scene by
blocking the rehearsal , then lighting the room as
it would have been lit had it existed as an empty
room w ithout our actors in it. By doing this , 1
think the lighting is purer, trüer to the location
and to the sense of place. It contextualises the
characters in their environment in a probable way
as opposed to lighting people or faces which
doesn ’t happen in real life. 1like to light the room
the way it would be and if we need to , we ’ 11 stage
the acting accordingly. Characters in The Yards
are not always in the key lights , sometimes 1like
to keep them on the edge of the light or off a
little , thrown away which just looks more real to
me instead of looking so precious and li t. 1think it
just goes to cement the integrity of the movie.
1think the use of the colour red was good in
the Club Rio scene because we avoided the
strange effect on film of putting a primary red
over the lights , which looks out of focus
James wanted a more orangey red and 1
think that we solved the technical part of that
problem , by using rock ’n ’ roll Parcans. There
were Covered Wagons in certain places way
in the background , but it was pretty much lit
with club lights and coloured gels on certain
lights. It was such a low light level , but
because we had to work with the club lights ,
we got away with murder. 1was getting E on
the light meter, but 1knew what E was , 1
was lighting by eye , but knowing how to
transcribe that to what ’'s going to happen
on film.
 Harris Savides 1

For the Sunnyside Yards break-in , the silver

tracks helped a lot. There were some huge
towers in that yard that we put 5K lights on top
of. 1 chose what you needed to see , lighting
what ’'s important and other things can go black.
We had a Musco type of light at the furthest
distance 1 have ever put a light from a set , just
subtly bringing out the vast background . But
the main set was lit by 5Ks and a couple of
strategically placed Pars over the yard master’s
house. There were Kino-Flos inside the building
and we put the light over the head of Joaquin
Phoenix. You can barely see his eyes and he
just looked amazing.

議싸빼
The daylight scenes were very simply shot and
in a way, 1 don ’t feel like the outdoors stuff was
figured out as well as we did the rest of the

￡”’?
rrr

μ 삐W
tm movie. We were so focused on this ‘ Volup-

gψ
tuousness of Death' which lent itself to all the

• interiors and it was hard to get something to

년싸
/ happen like that outside. They work in the
@‘\
context of the film , but 1 wish there was
‘ ‘ lRJn something 1 could have done to have imposed

熾쩨
er more of a character or a quality on them. We
wanted to shoot all the daylight scenes on
채싸

cloudy and rainy days and have reverse cover

싸

A-L“·‘ %R
PS ‘’ 야 p‘
sets , but we weren ’t afforded that luxury. 1
4

think it would have driven the point home

후4*

H LRJv
”
i ’ further, but there is something about having
까

the sun there at the day of the funeral of Erica

. (Charlize The r.on).

κ앙'~ l 뿔
0 1\ TE: .l..Ll!쓰

S걷NE 호L­

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• ã 5TOP 갚효--
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þ2

18 Sunnyside Yards lighting

diagram

19 A digital still of the Sunny-

side Yards with
annotated exposure levels

20 The yard master (J oe Li si)

and 에 llie top-lit by Kino-Flos

20
Harris Savides

Gerry 1agreed to work on Gerry without a script pre

pared. 1knew that the process would be an
2002 interesting one with Gus and 1wouldn ’t do it
with most other people . 1think the structure of
the movie came first to Gus and then 1think he
Director heard about this story of those two boys who
were lost in the desert and used this as a
Gus Van Sant vehicle for this exercise. The film was such an
Cinematographer awakening for me on a lot of different levels and
1relished its radical slowing-up of pace and
camera operator speed . Gus took a scene and broke it down to
Harris Savides one line , so we ended up with this two page
。 utline ， maybe there were sixty scenes on the
Steadicam two pages. Granted , the story lent itself to this
Matías Mesa simplistic approach , but it was so beautiful and
pure. There was a story and there was some
Focus puller kind of subtext and paradox , which 1believe
Christopher Blauvelt every fi lm needs , all there in these sixty or sev-
enty lines. AII of a sudden , it was like , “ God , this
Key grips is how you have to approach every movie ." It ’S
changed the way 1work on films , it ’s changed
Hipólito Velez my whole outlook and the way 1will approach
(Argentina) the blocking of scenes
Jim Kwiatkowski 1think the film is too slow or boring for some
(US) people. However 1was surprised how well it
works on the tension leve l. Something different
Gaffer happens when you watch Gerry , something dif-
Sebastian Hermanson ferent is demanded from the viewer. 1remember
when we were in Argentina , Gus showed me a
(Argentina) rough cut that he did on his il\l1 ac of the begin-
ning of Gerry , with Arvo Pärt music put on it
And 1thought , my God , how powerful is that?,
just the car driving away, it was like 1was
watching a different movie and that got me so
turned around , because 1was afraid that we
were doing those shots and nothing was
happening
It was a short programme , we were in Argentina
for 2-3 weeks and then we were in Death Valley
for about three weeks. The shoot was very hard
for me physically. Argentina was difficult , but not
as difficult as the heat of Death Valley. Some
times the temperature would be 1380 and it
was like standing in front of an oven. Gus and 1
both operated , the Steadicam was done bya
fantastic operator we found in Argentina , Matías
Mesa. Because the movie was so low budget
and pared down , we wanted it to be very formal
and classic in our approach to it. It was shot on
35 mm anamorphic which was appropriate for
the vistas , but with simple linear movemen t.
On the whole we wanted it to be presentational ,
like just ‘ this is it ’ and not much more than that.
We just wanted a proscenium-style shooting
and wanted to impose a certain kind of
structure to it that didn ’t involve too much
hand-held work
There was a lot of Steadicam in the movie and
we ended doing a lot of this on track , so we
had a truck filled with 1 .500 ft of track. that ’s
five football fields! and a ton of grips. In America
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1 The Gerrys (Matt Damon

....
‘.., “ ’ ‘
”
. . . _.-‘._,.ouCln I Ill _ _ A\'S.-.pw>g
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and Casey Affleck) in the - ’ 1

。 pening shot

2 Gerry’ s outline by Gus Van

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from Gerry
2
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Harris Savides
Harris Savides
we had eight and in Argentina we had quite a
few grips and workers we would hire. The US
gripping team was run by Jim Kwiatkowski ,
who had just finished AI (Steven Spielberg ,
2001) and with whom 1’d done a number of
commercials and we had also worked on an
unrealised movie with Gus Van San t, called
Standing Room Only about Jimmy Roselli. His
gripping team said that this was one of the best
experiences they ever had. They got a little bit
of money, it was 1380 and they had 1 ,500 ft of
track! That experience of making Gerry with
such a small crew, where everybody could
see what they were doing was just very fulfilling
and rewarding.
The film ’s movement is inspired by Béla Tarr ’s 4 Jim Kwiatkowski's gripping 6 The camera tracks with the
team working in the heat of Gerrys on a customised
Sátántangó (1993) and The Werckmeister Death Valley Panther dolly
Harmonies (2000). The structure was inspired
5 The gripping team used up 7-8 The Gerrys veer oH the
by Chantel Akerman ’s Jeanne Oielman 23 Quai
to 1,500 ft of track path
du Commerce 1080 Bruxelles (1975) . The shot
where the two Gerrys (Matt Damon and Casey 9 The Gerrys surrounded by a
vast landscape
Affleck) walk along at a brisk pace and we have
a tight shot of their heads was unconsciously
inspired by the similar shot of János (Lars
Rudolph) and Mr Eszter (Peter Fitz) in The
Werckmeister Harmonies which I saw before
working on Qerry. That specific shot is both
mimicry and relevant to the scene and to the
movie. The sequence where we follow the tw。
Gerrys up the canyon and the sagebrush is
9

10-12 The tracking shot of the
Gerrys’ heads
13 Janos (Lars Rudolph) and
Mr Eszter (Peter Fitz) in Th e
Werckmeister Harmonies
(2때이 which paηIy inspired
G er이·
14 The ca nyon sequence
inspired by Sátántangó
(1993)
12
blown towards them is taken directly from the
fantastic scene in Sátántangó where the two
guys walk Up the street and all the paper blows
towards them. The camera always wanted to
move , that was one of the rules , but the charac-
ters were always moving and we wanted to
move with them. We consciously chose not to
show the characters' POVS because the film is
about what the world does to them , what
nature does to them and they don ’t know it. It ’s
about figures in a landscape not having control
over ceπain things. We couldn ’ t take their place
with the camera except on a couple of occa
sions. When the camera pulls back and you
see the vastness of the landscape around the
two Gerrys at one point and at the end , it is
important to let you see how small they are in
the landscape.
14
For the scene at the start of the film where the
characters veer off the path and run through the
bush , there was no rehearsal , no light , no focus ,
only an onion skin depth of field with a 100 mm
anamorphic lens wide open. We just went for it
and the actors/crew couldn ’ t get marks. It was ,
“ Let's go and whatever happens , happens." 1
like the so-called problems in focus , they
worked , looked good and it was a wonderful
acciden t. AII of that seq 니 ence was filmed on a
Panther dolly with the 1,500 ft of track , on a rig
with a big platform around it , so we could walk
around and do a 360 0 shot. We filmed them for
quite a long way - they sit down - we then turn
and follow them back. The scene where Casey
Affleck gets stuck on a rock was a disaster for
me. It was shot over a number of days and we
had a bunch of different elements making up
Harris Savides
this long twenty minute scene. We filmed Casey
from below, not knowing how we were going to
approach the shot above. So all of a sudden we
are into this mismatch of lighting. But our deci-
sion was , let ’s just go
We used Cooke Millennium anamorphic lenses
and because we were in the deserts of Argenti-
na , it was easier for us to use Arris in terms of
support. We did a lot of testing on anamorphic
lenses and found l hat the Cooke Millenniums
worked quite well for us. Th ey were , however,
difficult to match and we had lots of problems.
We used Kodak 320T 5277 uncorrected.
Sometimes we would put in filters because of
the blueness in certain lenses , but most of the
time it was without filters. On almost all the
commercials and videos 1 do , 1 shoot tungsten
Harris Savides

15 Call sheet for the Salt Flats 18 The sun rises on the Salt
IMy Cactus , Inc 재URs . 1 7 /2 6/01 23 IOF 25 iCALL SHEET scene. Flats

I Pictur~ !GERRY : DAπ 26-JuI-o l iLOCATlOH' 1 8on~생4! Sa lt Fla t5 16Gerry (Casey Affleck) stuck 19The Gerrys limp across the
。 n the rock. Salt Flats
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15
film in daylight situations , which just makes a that affects the contrast of the film and we ’d
cleaner negative for telecine. On Gerry we probably ND really down , so that we could
might have used a halfway filter like an 81 EF. 1 shoot at f-2.8 or thereabouts. Your contrast
avoided using polarisers on the expansive sky changes a lot when you shoot at a higher
because 1 didn ’t want it to become a big blue f-stop , it grossly affects the look of the film ,
sky. 1 didn ’ t want the sky to get too saturated so there is a big difference between f-2 and
and 1 kind of liked its banality and the world a f-4 α a f-2.8 and a f-5.6 , so we tried to
we got. 1 used NDs and 1 just exposed towards keep all of the film close to the f-stop 1 decided
the sky or for the sky and 1 looked at it as one to shoot at. For the fire scenes, we used Kodak
room , so you know the world is lit and these 500T 5279 and for the first scene we used the
guys are in it. If they are in shadow, they are in light .from the fire to light the actors and one
shadow. If the light ’s behind them , it ’s behind light for the background. Half way through
them ‘ would take my meter reading off cloud
1 the first take our generator broke down , so
and 1 would say that cloud ’'s white and 1 would the scene is just lit by the fireligh t. The second
make the cloud white based on what 1 was scene is a number of fires bounced into
reading. 1 tried to be wide open a lot because plywood
19

From the beginning , Gus had the idea that the
Gerrys were going to make their final walk as
the sun was rising. It was going to be nautical
twilight , the time of day before dawn. He want-
ed to try to feel the morning break and we had
to accornplish that optically. We got there the
night before and set up the track. Then it was
like , “ Okay, now we are going to go , let ’'s do a
take. Let ’s start again , let ’'s do another take.
Let ’s do another. One of these is going to
work." And this is as the sun is coming up.
“Okay let's do another one. " We did it until day-
ligh t. And we picked the best one , the one that
worked in whatever ways Gus wanted it to work
visually and gave it a little nudge optically, by
making the beginning darker and the end
brighter. The final fight scene between the
Gerrys was never discussed with the crew, the
actors and Gus worked it out on the day of the
shoot. It was very improvisational, but Gus
knew what he didn ’t want them to do , although
he wasn ’ t sure what he wanted them to do. 1
wasn ’t there on the day of rehearsal and on the
morning of the shoot they went out earlier t。
talk about it as it had not been completely
worked ou t. 1was surprised at the way it went
down. It was so simple , quick and to the point
and 1couldn ’t believe this was how it was going
to end . 1think 1was a little bewildered because
all of this work had led up to this poin t. We had
shot the film in chronological order and we were
now faced with this scene that represented
nearly the end of the movie and the end of the
22
- 튿
Harris Savides
shoot. 1think 1expected the scene to be more 20 The Gerrys’ light 22 Van 5ant behind the Ärrillex
535B with 5avides in the lore-
dramatic , after all it w as everything that these 21 The linal close-u p 01 Gerry ground . .. Gus is delinitely the
two guys were leading up to. It was also the (Matt Damon) 에 med on a boss and the most prepared
end of this incredibJe experience for me and the Remote Sparrow Head and knowledgeable person on
the set “
crew, unlike any other 1’ ve ever had on a fi lm or
any that 1think 1’ 11 ever have. 1really like the
scene now, but when we were out there work-
ing on it , 1was thinking to myself , should we do
another version , another way? Gus , however,
was very happy with it , it was ambiguous , it was
sexual and 1think all that stuff adds to the
tension in the movie
The final dramatic scene where Matt Damon
realises that they are relatively close to the
road and the camera cuts to him in the back
。f the car c rying ; was considered and plotted
That was one of the most technically demand-
ing scenes in a movie of this size. We had
to get a very small remote head called a
Sparrow Head that we put in the passenger
seat of the car. We intended to start the scene
looking out of the window and then panned all
the way over to the driver. Then we panned
20
back , but we couldn ’t use it because you need
to cut from the driver looking at Matt in the rear
view mirror to Matt and it didn ’ t work when you
panned back to the kid and back , but it was a
beautiful shot. Gus operated because they
were sitting in the back of the car behind
the luggage , it was just easier for them to get
in there and 1wanted Gus to be there and
watching it.
21
Harris Savides

Elephant
2003

Director
Gus Van Sant
Cinematographer
Harris Savides
Camera operators
Harris Savides
Gus Van Sant
Steadicam
Matías Mesa
Focus puller
Christopher Blauvelt
Gaffer
Bruce “ Sarge" Fleskes
Key grip
Bruce Lawson
Art Director Elephant was like making a student film with
experts. Its crew was really good , confident in
Benjamin Hayden their jobs , the director knew what he was doing ,
but the resources were limited and there was n。
eq 비 pment ， but it was fantastic.
We weren ’t setting out to make a movie about
the Columbine killings , so we were careful not
to. There was to be no explanation and no res
。 lution . We weren ’t going to slap anybody ’s
hand or preach. The audience was going to
take what they wanted from this film and inter-
pret it the way they felt. In the beginning we
were given all the Columbine material and
1 John Dohn Robinson) com- Michael Moore ’'s Bowling For Columbine (2002)
forted by Alicia (Alicia Hicks) as research , which we looked at to understand
2 Sokurov’ s work such as
how to structure our scenes and find out accu -
Mother and 50n (1997) was rately what was done in Columbine , so we
an influence on the “ decon. would have an understanding of what went on .
structive cinema" 이 Elephant
Elephant was very unconventional in its struc-
ture and 1now find it slightly irritating and als。
unnecessary to have to go in for coverage on
。ther movies. 1think it strange to go and shoot
a close-up when you ’ re shooting a scene. We
don ’t look at things in close-up in real life , so
why do we shoot a wide shot and then go for a
close-up? They are not nec~ssary unless you
really want to get a point across and 1thinK they
stop the movie , especially when you have this
great scene and the mise-en-scène works and
there ’'s a great frame. AII of a sudden to stop it
and go to someone ’s head does not interest me
anymore and yet that ’'s how most movies are
made now.
Gus Van Sant and 1had been talking about this
deconstructive kind of cinema since the begin-
ning of Gerry. We don ’t have many words or
phrases for it , we just know that there are cer-
tain rules that we sometimes follow. It ’'s all
based on Gus ’ love primarily of this Eastern
European style of film-making , especially
Alexandr Sokurov and Miklós Jancsδ ’s The Red
and the White (1967) and of course 8éla Tarr,
who has now become very friendly with Gus.
We were also influenced by the fly-on-the-wall
aspect of Frederick Wisernan ’s docurnentaries.
Ci néma vérité also was part of this structure or
design that we wanted to achieve. For instance ,
only going to a close-up if it ’s super important
that you do , 1don ’t know if we did it once in
Elephant.
It was a twenty day shoot , four five day weeks ,
from 6 to 4. On regu lar movies , days would
usually be longer, but here , it was good , hard ,
intense work and we never allowed ourselves to
work when we were tired. The film was shot in
continuity, which helps to keep it in your head.
We could afford to do it and 1think it helps
everyone understand where they are. Movies
are not filmed in continuity for one reason and
that ’s money, what other reason is there? 80
why not shoot it the way the script is written? 1
was very conscious of wanting to keep Elephant

3 The arbitra 깨 Iraming 01 4 Frederick 에 seman ’s Ily-on
lootball practice the-wall approach in his docu-
mentary High School (1968)
inlluenced Elephant's look
Harris Savides
looking natural , 1 never wanted the photography
and the lighting to look great or like the work of
a slick director of photography. 1 wanted it to
look like it should have been - messy and ugly. 1
think it was an observation or a poem of what
it ’'s like to be in high school and it was a very
accurate interpretation of that. Gus ’ approach
was also to let things gO. You can make the
frames a little better and you can say, “ Well ,
maybe the action should be more ... " and he
stops you and says , “ No , no , let it happen
and instead you get this tension in the frame ,
like in the football scene where you think , well ,
maybe the camera should have been more to
the right or maybe we could have got them
more in the centre , but it ’'s making the viewer
more co-operative , which is good
We shot on this very, very flat film , Kodak 500T
5263 but which has a huge exposure latitude
because it ’'s flat and has not very saturated
colours. It was one of the only stocks that
allowed us to work in such a way that we were
able to start inside a very dark room and go
outside to a very bright room and know that the
film could handle those extremes of exposure
more than a regular, more contrasty stock. We
wanted to bring back the colour and so we
followed the stills photographer's old adage ,
where you shoot flat and you print contrasty
We printed on this very colourful , contrasty
stock called Premier, that ’'s used like a poor
man 's ENR process. Th ere ’'s a bubblegum
quality to it we liked , that is there in some of
the scenes
Since he was working for a TV company [HBOJ,
Gus wanted , in some kind of oblique way, to
keep the format true to a TV image and shot in
the 1.33:1 ratio. The company were pushing us
to shoot 1.85:1 so they could make it more
cinematic and enable them to present it wide
angle presentation on 1v Our argument was
that it was on television , it ’s not a movie, so it
should fill up the screen . We tried to put our
information or most of our characters in a
1.85: 1 aspect ratio and protect the 1.33: 1, so
we ended up with a very Diane Arbus Rolleiflex
composition. The action and people are centred
as in a photograph and then had space all
around them , we just fell in love with it when
we first saw it
Initially Gus wanted the whole movie to be shot
on a 10 mm or an 8 mm lens , but in the end it
became too much about the lens and not
about the ‘ thing ’. It was a bit like the lighting , it
needed to be more about what was happening ,
not about what the lens was doing to the
frame . As soon as you put those lenses on , the
first take of the kid walking through the school ,
Harris Savides

5 티 i (Eli McConnell) 6-9 The Steadicam shot of

photographs John with John moving through the
Michelle (Kristen Hicks) in school corridor’ s mixed source
the background lighting

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then out and in was done on the 8 mm and we
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kept saying , “ we ’ ve got to re-shoot that" as C

there were some lighting issues 1had with it. It
got too dark at one point when the AC turned
the Arri RCU too much. This stopped down the
aperture at the threshold of the door and the
whole sky outside looked dark. 1said to Gus
that we should shoot this on an 18 mm and we
ended up using this lens for most of the time
On this movie 1had the different stress of bal-
ancing the light and going fn。π1 room to room
and wondering whether we were we going to
make it. Were we going to end the sequences
in eight or four minutes? Was someone going to
mess Up or walk through the wrong door? Was
the Steadicam going to bump something? 1
think we had 60 ,000 ft of short ends left
because we had such long takes. We ’ d start
and the Steadicam would be going down a hall
and you ’ d see it hit someone and we ’ dg。 ’
“ Okay, cut! " and we would then put everyone
back and do it again , sometimes not wanting to
rehearse and just seeing what happened with
the kids. The sequence of the girls going into
the cafeteria , walking through the kitchen ,
coming out and fol lowing them to the bathroom
was really hard , but we got it on , 1want to say,
-
There is a progression of lighting throughout the
film. We definitely wanted it to go from light to
dark , dark to ligh t, but never for any particular
reason . One of the other problems was that we
were shooting this film that takes place in an
hour or two and we wanted all this parallel
action to exist, yet we had to shoot in the morn-
ing and the afternoon. \Ne had no control over
the light or how sunny or dark it was , so there
was a real continuity problem , but it seemed to
flush itself out. We used these devices that were
remote-controlled focus and iris because a lot of
the film was on Steadicam on long shots . We
would figure out the moments that needed to
be changed and we would also let them go. It
all depended on the situation and how sunny it
was outside. It wasn ’ t a big budget movie , s。
we couldn ’ t light the world. We couldn ’t bring
up the school and every half hour the sun and
the clouds would change. It .became this ‘ thing ’
that we started learning how to work with , as
the movie progressed and we started doing less
of the ‘ thing ’ and were al50 being more cavalier
with it. 1noticed that 1liked it when it looked
。verexposed and 1wasn ’ t going to pull. Rather
9

10 Alex (Alex Frost) lit by than seeing the world change I thought it would
。 ff -colαJr
green Opti ma 32
lighting
be great if we \Nalked through the door and it
stayed bright and then we made the change
11 John with problematic
really slowly, which 'W as more integral to the film
reflective windows behind him
It seemed to work better with the tone and the
way things were moving
My worries and the 8teadicam operator’s wor-
ries were that we ’ d never want to see ourselves
reflected. We were , for instance , in all of those
windows in the principal ’s office when the jock
(Nathan Tyson) and his girlfriend (Carrie Finkle히
enter or John (John Robinson) leaves and asks
about the keys and the picture. 80 we had t。
abandon a few takes which was horrible after
walking out from the street and turning around
on John , which took a lot of rehearsing and
avoiding/ addressing problems and timing our
move with his step
10
11
Harris Savides
The school had a lot of daylight, which helped
us and we didn ’t use too much lighting where
there was dayligh t. We just augmented the
lights that you would turn down the hallway.
For instance , when the three girls are talking
and they go to the cafeteria , we turned on the
lights over that corridor and balanced them
We used four different types of fluorescent
tubes and we would change them depending
on how the day was going. They were called
Optima , which were either daylight-balanced
。 r there was an Optima 32 that was tungsten-
balanced. 80metimes we would use the off-
colour green ones in the bathrooms and the
locker room. I didn ’t use any filtration , which is
a rule that I have. I tend to do so much with
the film stock and the exposure when I’ m
lighting a movie that the last thing I want to
do is put anything on the camera
Harris Savides
12-13 The flares on Eli as he
walks through the schoo l.
“ Those are considered
mistakes by most people, but
we loved them."
14 The spectral discs on
Nicole (Nicole George) and
Jordan Oordan Taylor)
15 Eric (Eric Deulen) lit by day-
light augmented by K in o- FI。
15
Alth<?ugh the different shaped flares on the
characters are considered mistakes by most
people , we loved them. Flares are weird and
there ’'s the whole science that has to do with
circies of confusion and how they work in focus
and manifest themselves in different shapes. It
all has to do with the distance , the shape of the
glass and the window panes in the back-
ground. You also get different flare by putting
different eyebrows on a camera. If you were to
take the eyebrow off , you 'd get a wonderful
flare and if you were to put an eyebrow on , you
might get a square flare. ff that light were to hit
the edge of the eyebrow, then it flips it and
makes it a different shape or maybe takes the
shape of that eyebrow. 1think they would have
been there , no matter what lenses we were
uSing , it was more to do with the lack of normal
convention. 1remember the grips would come
up to us and say, "00 you want to flag on?" 1
would say, "No , no , leave it." It was the lack of
light that was causing the flares.
1found that 1could control things a little in the
den of Alex (Alex Frost) and Eric (Eric Oeulen). It
wasn ’t like we were walking the camera from
one place to another. 1liked the way the scene
works where we pan off Alex seated to the TV
and hold onto the frame. You hear them saying
some great things and then you see in the
background the out-of-focus arrival of the
Fed Ex truck. One of the characters gets up and
the camera pans over and one of them is
answering the door and getting the box with

16
17
l필擊J 繼 I
| 蠻{ ‘
18
the rifle in it. 1 liked the way it just presented
itself. We didn ’t do much lighting th ere and the
place was also dressed. We just added one 4
tube Kino-Flo right over the window to augment
the room ’s daylight a bit. 1 always do that when-
ever 1’ m presented with a natural light environ
ment which 1 like and just want to bring a little
more light in
About two thirds of the film was shot on
Steadicam , which was great in the school
corridors and 1 did some simple operating when
we were not on it. We had a wheeled device
made that would carry the Steadicam operator,
similar to the dolly used on Gerry , so he could
turn gracefully. The other was this weird rig
that ’'s used once when Alex is walking through
the schoo l. It’'s the last scene before he walks
into the cafeteria. It was like a long legged spi-
Harris Savides
der with a camera mounted in front of him and
as he ’s running down the hall it allowed us do a
180 0 turn as the camera spins around . When
Alex and Eric showed up for the violent
denouement , they were like , “ Yeah we can
walk this , we can do that... " and sometimes
we ’ d see the rehearsals and we ’ d be like ,
“ No , guys ... !" As we didn ’t like anything we
were getting , we ended up making it about
the kids' heads, so the focus was on Alex
when they walk into the library and it was just
a tight shot of hi fTl. AII the effects guys were
doing their stuff in the background , making it
20
look like Platoon (Oliver 8tone , 1986) and we 16-18 The Sleadicam revoJves
around Alex
just focused on Alex , threw everything out of
focus and just stayed on him. If you ’ ve got 19 Alex pJans his slralegy in
a wide-angle camera , it would have looked the cafeteria
like what not to do when you have that kind 20 The lighl shol On Alex as he
。f scene. 。 pens Jire in lhe library.

Glossary
The glossary defines lesser known lighting
equipment α terms cited in the text . Ira
Konigsberg ’'s The Complete Film Oictionary
(Penguin , 1997) is recommended to readers
requiring more general definitions of lighting
equipment or terms
ACE (Adjustable Contrast Enhancement) Oeluxe
film laboratory’'s variable bleach-bypass positive
process , measured in percentages
Anamorphic format The effect of compressing
an image's horizontal axis to achieve a
widescreen effect. Anamorphic projection is
2.35:1
Aspect Ratio The film image ’s ratio of width to
heigh t. Academy apeπure is 1.33 ‘ 1 , standard
US widescreen is 1 .85 ‘ 1 and standard European
widescreen is1 .66:1.
Bleach-bypass Method of colour film processing
in which the bleaching stage is partially left out to
leave silver halide crystals on the intermediate or
colour prin t, thereby making the blacks richer
and de-saturating the colours. Skipped Bleach-
bypass leaves out this stage completely
Blonde 2K open-face light
Bluescreen process Blue fabric or blue painted
background against which performers are filmed
under a uniform light. This travelling matte
process enables them to be composited over
different scenes on an optical printer or
compositing prograπlme
CCE (Colour Contrast Enhancement) Oeluxe film
laboratory’'s proprietary silver-retention process
similar to ENR.
Cherry Picker Alternative term for a truck-
mounted crane.
China Ball Spherical or rectangu lar lightweight
paper or cloth lantern which creates a flexible
and inexpensive soft or ambient light source.
Condor Vehicle with telescoping boom platform
onto which lights can be positioned to a height
of 120 야
Cooke S4s Prime lenses with full aperture of T2
which cover Super-35 format
Cookie A perforated opaque or translucent flag
made out of wood or plastic , designed to cast
shadow designs when placed in front of light
source.
C-Stand (Century Stand) 끼ripod used to hold
flags and heavier gadgets.
CTB (Colour To Blue). Correction gels that
change the colour temperature of a tungsten
source to that of daylight
CTO (Colour To Orange). Correction gels that
change the colour temperature of a daylight
source to that of tungsten. See also CTS (Colour
To Straw).
Cyciorama Stage background usually
curved and made of w hite seamless cloth ,
plaster or plastic to create a limbo or sky
effect
Oedo Compact , powerful light fixture with
precise , controllable beam angle
Oino A lighting unit made up thirty-six Par 64
lamps which create broad illumination.
Oisplacement magazine A system in which film
is displaced from one side to the other of the
magazine as opposed to one distinct
compartment to another (co-axial)
ENR (Ernesto Novelli Rimo) Colour positive
process developed by Rimo at 펌chn i color，
Rome and pioneered by Vittorio Storaro in
which a black and white developing bath is
used in film processing to retain a percentag e-
of silver on the positive. This increases contrast,
the blackness of shadow areas and de-saturates
colour.
Fire Bar A gas-fuelled pipe punctuated with
holes , used as a portable fire effect.
Fisheye Ext reme wide-angle lens
Flag Rectangular or square πletal frame over
which heat resistant black duvetyn cloth is
stretched , used to block light from the lens or
shape light falling on a scene
Fresnel A controllable spotlight faced with a
convex shaped lens designed with annular
concentric ridges
Grading or timing Selection of printer lights and
colour filters in the laboratory to modify final print
quality.
Greenscreen Equivalent process to bluescreen
which replaces green for blue
HMI (Hydragyrum Mercury Medium arc length
lodide) Enclosed arc , A. C. discharge lamp which
gives off colour temperature equivalent to
daylight (5 ,600 K)
Hydroflex housing Proprietary underwater
camera housing designed by Peter Romano for
the Hydroflex company.
Interpositive Colour intermediate positive printed
from original negative to make dupe negatives
before release prints are finalised .
Jumbo Powerful lighting fixture made up from
16 Par globes siπl i lar in effect to an aircraft
landing light (ACL).
Kino-Flo Proprietary fluorescent lighting system
which mixes wide-band and narrow-band
phosphor crystals with rare earth elements
Portable lightweight fixtures are available in
various banked systems
Leelium Balloon Versatile proprietary lighting
system , in which balloons suspended via a
helium feed , cast shadowless lighting through
the Tube Li te system
Louma crane Portable , flexible remote
controlled crane onto which a lightweight
camera is fixed ‘
Mattebox A frame mounted in front of the
camera lens onto which a sunshade is usually
attached. It can also hold mattes , fi lters and
other devices such as the Varicon
Maxi or Maxi Brute Common name for a nine-
light using 1K 8 inch Par 64 lamps
Metal Halide See HMI
Mickey 1K open-face , variable focus light made
by Mole Richardson. Also known as a Redhead ‘
Mighty 2K open-face , variable focus ligh t.
Mini-Flo 9 inch 12 V tube made by Kino-Flo.
Mitchell A-O Range of diffusion filters used to
soften or sharpen image clarity. Letters refer to
lightest di什usion (A) to darkest (0).
Moviola Trade name of American upright , linear
editing πlachine.
Musco Mobile lighting truck with telescopic arm
onto which 6 to 15 6K open-face HMI fixtures
can be fixed to a height of 100 ft
NO (Neutral Oensity Filter) filter or gel that
reduces light hitting the lens without affecting its
colour temperature
Newton Rings Ring patterns that appear on a
print due to incorrect placement of two filters in
front of the lens or imperfect contact printing
Optima day lighν32 Colour correct fluorescent
tubes
Panaflasher Panaflex ’'s proprietary flashing
device fitted to the rear of the camera , which
provides the film with a low overall exposure to
add more detail to dark areas and shadows
Also used to introduce coloured light tints to the
shadows while not grossly affecting highlights or
skin tones
Par Parabolic aluminized reflector ligh t. Sealed
beam lamp with globe , lens and reflector which
emits a wide α narrow intense beam.
Parcan A Par globe mounted in a can with a gel
frame slot at the front of the barrel which makes
a useful robust , lightweight fixture.
Pepper Li ghtweight small tungsten light ranging
from 100 W to 2K
Photoflood Tungsten incandescent bulb of
similar size to a domestic fixture , but with
increased colour temperature of 3 ,200K to
4 ,800K and a resultant shorter lifespan.
Polariser Filter used to control glare , surface
reflection or darken skies.
Practical Functioning film set light source , which
appears in the action of a scene.
Primo One of Panavision ’'s proprietary lens
systems.
Printer lights/ points Series of numbers (1-50)
used by the fi lm laboratory, corresponding to the
strength or weakness of Red , Green , Blue or
Yellow, Cyan and Magenta. These are inputted
to control print density and colour balance to
ensure an evenly exposed print

Promist Tiffen ’'s black or white diffusion filters
Different densities are available to lower contrast
and soften colour saturation.
Ramping the camera Varying the shutter speed
to achieve the immediate effect of either slowing
or accelerating the film action.
Remote Sparrow Head Ultra lightweight ,
panning and tilting 35mm head for use on
cranes , car or motorcycle mounts with wireless
control.
RCU Remote Control Unit
Reversal Film A film stock that when processed
produces a positive image and bypasses the
need to print a positive iπ13ge from the negative.
Has less exposure latitide in developing and
tends to produce more contrast.
Rosco Trade name for diffusion materials such
as Frost , Cloth or Silk
Scrim Accessory made of wire mesh , silk , spun
glass or plastic which when placed in front of a
lighting source , diffuses its intensity
Shutter angle Variable angle on camera ’s
revolving shutter, which exposes film to light and
affects the film ’'s look.
Skypan A non focusable studio light made up of
an aluminium reflector and a 2K , 5K or 10K
uncovered bulb. Generally used to illuminate
large expanses such as scenic paintings ,
backdrops or backings
Soft Box A covered structure containing lamps
which create soft , diffuse , shadowless light
Soft Effects Tiffen ’s diffusion filter which softens
wrinkles while retaining general picture clarity
Different strengths available including Li ghtest
Classic.
Space Li ght Suspended open-ended silk drum
filled with 1K nook lights providing soft 에 I l i ght
over the set
‘
Super 16 16 mm negative with image area 40-
66 percent larger than regular 16 mm , which
can be blown up to widescreen 35 mm
Superspeed W ide aperture lens that functions
at low light levels
Super-35 Widescreen format in which the image
covers the area usually reserved for the
soundtrack. Aspect ratio ranges from 1.85:1 to
2.35:1
Swing and tilt lens Originally designed for st川
cameras , this lens mounting controls subject
position , perspective and also depth of field.
Technocrane Remote-controlled crane made by
TechnoVision . It has an extending arm onto
which a camera is fixed ,.
TechnoVision Anamorphic lens system
developed by Henryk Chroscicki in 1974.
Telecine Conversion process in which positive or
negative film can be transformed to videotape
and videotape to film
Tewe/director’s viewfinder Optical device used
by a director to line up a shot and select the
appropriate lens.
끼ranslight Back-lit photographic enlargements
used as scenic backing , sometimes behind
doors α windows.
Ultra Contrast Filter which decreases contrast in
shadow and high-light areas of a scene in equal
amo니 nts . Available in varying densities.
Underwater Kino-Flos or HydroFlo@
Under、Nater fluorescent lighting introduced by
HydroFlex on Alien Resurrection
4 ft fixtures and also light boxes that take 4 or 8
four ft HydroFlo tubes.
Varicon Arriflex ’'s proprietary flashing device
fitted to the front of the camera. See also
Panaflasher.
Wendy Square , powerful lighting grid made up
from panels of bulbs used to light large
expanses , developed by cinematographer,
David Watkin
Wescam Helicopter mount with remotely
controlled , self-contained camera sphere
Westem Dolly Steerable camera tracking vehicle
with large flat platform , capable of carrying a
heavy load and moving over rough terrain with
its large inflated tyres
Wratten 85 CTO filter.
Xenon Intensely bright and powerf미 Iy focused
spotlight
--톨븐-=는븐=훌
Picture
Credits
Courtesy of BFI Stills, Posters and Oesigns
pp1 0 -12 Buffalo '66 , Li ons Gate (1 , 5 , 7 , 8);
pp18-20 Being John Malkovich , Sony Pictures
Digital Entertainment Inc. (14 ,17 , 21); pp58-9
Gummo , Fine Li ne; p70 The Wind , MGM (1);
p75 Mad Love , MGM (2); p84 Le Plaisir , Stera
(2); p96 The Beach , Twentieth Century-Fox (1);
p111 The Seven Samurai , Toho (9); pp 11 1-13.
Gladiator , Scott Free Productions (11 ,16); p116
Hannibal , Universal (5); pp133-7 The V\I김r Zone ,
Film Four (7 ,18-19); p138 High Fidelity , Working
Title (1); P 147 Who 's Afraid of Virginia Woolf? ,
Wamer Bros (3); p148 ηle Passion of Joan of
Arc , Société Générale des Films (7); pp 153-6
The Hours , Paramount (10 , 21); p161 계'Ithe
President ’'s Men , Warner Bros. (6); p162 Being
There , Lorimar (8); p 177 The Werckmeister
Harmonies , Artificial Eye (13); P180 Mother and
Son , Lenfilm (2); p181 High School , Osti
Productions (4).
Courtesy of The Ronald Grant Archive: pp46-8
Mauvais Sang , Artificial Eye (7 ,14); p55 Les
Amants du Pont-Neuf, Artificial Eye (25); p77
City of Lost Children , Lumiere (9); p80 The
Exorcist , Warner Bros. (2); pp81-3 Seven , New
Li ne (4 ,11 ,13); p98 The Beach , Twentieth
Century-Fox (1 이 ; p121 K-PAX, Universal (9);
p164 The Game , Polygram (15).
Courtesy of The Bridgeman Aπ Li brary
(www.bridgeman.co .uk): p83 The Oance on the
Shore (1902), Edvard Munch (1 이; p107 Study
after Velázquez' p，。πrait of Pope Innocent X
(1953) , Francis Bacon (12); p113 Pollice Verso
(1872) , Jean- Léon Gérome (15); p167 The
Penitent Magdalen (1638-43) , Georges De La
Tour (3)
Courtesy of The British Museum: p71 Spring
/\light, Greenwich Village (1930) , Ma에 n Lewis (3)
@ Trustees of the British Museum.
Courtesy of The National Gallery, London: p85
Saint Jerome in his Study (c.1474-5) , Antonello
(4) @ The National Gallery, London ; p 149 An
Experiment on a Bird in the Air Pump ( 176에，
Joseph Wright of Derby (9) @ The National
Gallery, London
Courtesy of the Reunion des Musées Nationaux ’
p45 Leonardo Orawing Ms. A , Fol. 1 Recto (3);
p80 At the Bohemian Club Bar (1977) , Robert
3 Picture Credits
Guinan (1) @ Photo CNAC/ MNAM Dist. RI\I1 N
and couπesy of Robert Guinan.
Courtesy of The Staatsgalerie Stuttgart: p91
Chimpanzee (1955). Francis Bacon The
Staatsgalerie Stuttgart.
Courtesy ofTaschen GmbH: p10 Elmer Batters
image from The Tip of the Toes to the Top of the
Hose (2) @ Taschen GmbH , Elmer Batters
Estate
Visual material contributed by Lance Acord ‘ p8
portrait shot; pp14-21 Being John Malkovich
(1 ,2 ,5-6 ,11 ,13 ,15-16 ,19-20 ,22-3); pp15 ,19
Being John Malkovich with thanks and
acknowledgement to Sony Pictures Digital
Entertainment Inc (3 ,18 ,21); pp24-5 ,28
Adaptation. (1 ,2 ,14); pp26-9 Adaptation. w ith
thanks and acknowledgement to Columbia 듀1-
Star (5-8 ,13 , 15-1 8); p37 Lost in Translation (29);
pp30-7 Lost in Translation with thanks and
acknowledgement to Focus Features (1-2 ,5-
9 ,14-28 , 30-2) , .
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Visual material contributed by John Beard:
pp143-4 Enigma (10- 11 ,13 ,15)
Visual material contributed by Stuart Bunting
p128 portrait of Seamus McGarvey
Visual material contributed by Michael Carlin:
pp 132 ,135-6 The War Zone (6 ,13-16)
Visual material contributed by Sofia Coppola:
pp31-2 Lost in Translation (3-4 ,10-13)
Visual material contributed by Jean-Yves
Escoffier: pp40-1 ,43 Boy Meets Girl (1-4 , 12);
pp44-9 Mauvais Sang (1 ,4 -5 ,8-12 ,15-20);
pp50-6 Les Amants du Pont-Neuf (1-5 ,8-1 7 ,
21 -4 , 26); pp56-7 ,60-1 Gummo (2 ,5 ,7 ,9)
Courtesy of Contemptible Entertainmen t: p38
po야 rait shot of Jean-Yves Escoffier; pp62-3
NurseBeπy (1-7); pp64-6 Possession
(2 ,4, 6 ,8 ,11 )‘
Visual material contributed by James Gray:
pp170-1 watercolour sketches for The r김rds
Visual material contributed by Darius Khondji
p68 portrait shot; pp70-3 Oelicatessen (2-14);
pp74-9 La Cité des enfants perdus (1 ,3-8 ,10 ,12-
13 ,16); pp81 -2 Seven (5-9); pp84 ,86 ,89 Stealing
Beauty (1 ,12); pp92 ,94-5 Alien Resurrection
(6 ,10 ,13); pp100-1 Anything Else (1 -3)
Visual material contributed by John Mathieson:
p 102 P。ηrait shot; pp1 04 ,106- 107 Love is the
Oevil (1 ,8 ,14-15); pp1 08-1 12 Gladiator (1 ,3-
4 ,6 ,8 ,10 ,12- 13); p 11 5-17 Hannibal (2 ,4, 8);
pp118-20 K-PAX (1 ,6 ,8); pp122-7 Matchstick
Men (1-4 ,6-9).
Visual material contributed by Seamus McGarvey
pp133-4 ,137 The War Zone (8 ,9 ,17); p138 High
Fidelity (1 ,3); pp140-1 Enigma (2 ,4); pp146-7 Wit
(1 photography by Cl ive Coote; 5 , storyboards by
Stuart Wurtzel); pp150 ,153-5 The Hours (1
photography by François Duhamel; 11 ,16 ,19)
Visual material contributed by Chiara Menage:
pp104-7 Love is the Oevil (2-7 ,9-11 ,13) ‘
Visual material contributed by Nigel Phelps:
pp92-3 Alien Resurrection (3-5 ,8-9) .
Visual material contributed by Harris Savides ‘
p158 portrait shot gesticulating , photography by
Barry Wetcher; pp160 ,162-5 The Game (1
4 ,7 ,9-19); pp166-9 ,172-3 The 엄rds (1 , courtesy
of James Gray; 4-6 , 7 photography by Barry
Q)
Wetcher; 8 ,11 , 9 , photography by Eric
Liebowitz; 10 photography by Barry Wetcher; 16
photography by Eric Liebowitz; 17-20); pp174-9
Gerry (1 ,2-3 ,7-9 ,10-12 ,14 ,16-21 courtesy of
Gus Van Sant and Dany Wolf; 4-6 , 15 ,22; pp180
5 Elephant (2-3 ,5-20 courtesy of HBO Films) ‘
Visual material contributed by Alex Scott: pp97
9 The Beach (3-7 ,12)
Visual material contributed by P비 i p Sindall:
pp140-1 ,145 Enigma (1 ,3 ,16); pp151 ,153 ,155-6
The Hours (4 ,12 ,18 ,20).
Visual material contributed by Joseph Szabo: p22
Night Owls from Teenage (1) @ Joseph Szabo ‘
Visual material contributed by Lee Walters: p 142
Enigma (9).
Visual material contributed by Stuart Wurtzel:
pp146-7 Wit (2 ,6)
Screengrabs: pp11-13 Buf治10 ’66 w ith thanks
and acknowledgement to Lions Gate (3-4 , 6 ,9-
13); pp15- 17 Being John Malkovich with thanks
and acknowledgement to Sony Pictures Digital
Entertainment Inc. (4 ,6 ,8 ,10-12); p17 Oark
Passage w ith thanks and acknowledgement to
Warner Bros . (9); pp22-3 The Oangerous Lives
of Altar Boys with thanks and acknowledgement
to Columbia Tristar (2 -3 , 5-1이; p22 Kes with
thanks and acknowledgement to MGM (4);
pp25-6 ,28 Adaptatíon. w ith thanks and
acknowledgement to Columbia 듀i star (3-4 ,9-
12); pp41-3 Boy Meets Girl with thanks and
acknowledgement to the Other Cinema (5-6 ,8-
10 ,13); p42 La Belle et la bête with thanks and
acknowledgement to Discina (7); pp44 ,4 6-7
Mauvais Sang w ith thanks and
acknowledgement to Artificial Eye (2 ,6 ,13);
pp51 ,54 Les Amants du Pont-Neufwith thanks
and acknowledgement to Artificial Eye (6-7 ,18-
20); pp56-7 ,60- 1 Gummo with thanks and
acknowledgement to Fine Line (1 ,3-4 ,8 ,1이 ，
pp64-6 Possession , with thanks and
acknowledgement to Miramax (1 ,3 ,5 ,7 ,9-10);
p67 The Human Stain with thanks and
acknowledgement to Miramax (1-2); p73
Oelicatessen with thanks and acknowledgement
to Electric (12); p78 Leave Her to Heaven with
thanks and acknowledgement to Twentieth
Century-Fox (1 1); p79 La Cité des enfants
perdus with thanks and acknowledgement to
Lumiere (14-15); pp81 ,83 Seven with thanks
and acknowledgement to Lions Gate (3 ,12); p84
Last Tango in Paris with thanks and
acknowledgement to United Artists (3); pp85 ,87-
9 Stealing Beauty with thanks and
acknowledgement to Twentieth Century-Fox
(5 ,7-1 1 ,13); p90 Cat People with thanks and
acknowledgement to Warner Bros. (1); pp93-5
Alien Resurrection w ith thanks and
acknowledgement to Twentieth Century-Fox
(7 , 11-12); pp97 -9 The Beach with thanks and
acknowledgement to Twentieth Century-Fox
(2 ,8 ,10 ,13); p98 Easy Rider with thanks and
acknowledgement to Columbia Tristar (9); p99
Oelicatessen w ith thanks and acknowledgement
to Electric (11 ); P105 Love is the Oevil with
thanks and acknowledgement to Artificial Eye (5-
6); p108 Gladiator with thanks and
acknowledgement to Scott Free Productions (2);
p109 The Fall of the Roman Empire with thanks
and acknowledgement to Universal (5); pp 11 4
16 Hannibal with thanks and acknowledgement
to Universal (1 ,3-5); pp1 19-2 1 K-PAX with
thanks and acknowledgement to Film Four (2
5 ,7 ,10-1 1); pp130-2 The Winter Guest with
thanks and acknowledgement to Film Four (1-9);
pp 132 ,134 The War Zone with thanks and
acknowledgement to Film Four (1-5 ,10-12);
P139 High Fidelity with thanks and
acknowledgement to Working Title (4-5); pp141-
2 ,144-5 Enigma with thanks and
acknowledgement to Jagged Films (5-8 ,14 ,17-
19) ; pp147 -9 Wit with thanks and
acknowledgement to HBO Films (4 ,8 ,10-13);
pp150-2 The Hours with thanks and
acknowledgement to Paramount (2-3 ,5-7 ,9);
p152 AII That Heaven Allows with thanks and
acknowledgement to Universal (8); pp153-4 ,156-
7 The Hours with thanks and acknowledgement
to Para
 i좋틀들듬

Index At the Bohemian Club Bar 80

Auer. Gabriel 39
Boyle , Oanny 96 , 97 , 98-9
Bradley, Oan 28
Close Encounters of the Third Kind
118
Auriga , The 92 Brambilla , Marco 39 Cockburn , Arlene 131
Branch , Roy 142 Cocteau , Jean 43
Babin, Paul 118 Breen. Charles 62 Colony Room , The 104-5 , 105
Bacon , Francis 90 , 90 , 104-7 Bresson. Robert 159 Colosseum 113 , 113
Badlands 9 Bridges , Jeff 118 , 119 Come and See 129
Ballade à blanc 39 Brisdon , Stuart 154-5 Conformist, The 9 , 69 , 85
Figures in bold refer to illustrations Bangkok 97 , 98 , 99 Broken Noses 11 Coniglio , Salvatore 14 , 15
Barber, Richard 104 Brook , Peter 97 Conisbee , Philip 129
A la Recherche du temps perdu 69 Barocco 69 Bruce , Nicola 129 Consentino , Stephen 100
Abel , Oominique 39 Barr, Libbie 64 Buffalo 10-1 2 Coo , Michael 80 , 83 , 160
Acord , Lance 8-37 , 8 , 14 , 14-15 , Barrett , Jacinda 67 Buffalo ’6610-13 , 34 Coop , Trevor 140 , 146
18 , 20-21 , 24-25 , 30-3 1 Barrett , K.K. 14 , 20 , 28 , 30 Bulworth 88 Cooper, Chris 27 , 27-9
Actors, The 129 Barron , Oavid E. 100 Bunting , Stuart 130 , 132 Coote. Clive 149
Adaptation. 24-9 Barry Lyndon 55 , 65 Buñuel , Luis 9 Coppola , Francis Ford 69 , 97 , 103 ,
Adler, Mike 22 , 24 Bartels , Aπ 138 Burrows , Oave 14 144 , 168
Affleck , Casey 174 , 176-7 , 178-9 Batters , Elmer 10 , 10 Burrows , Saffron 141 , 141 Coppola , Sofia 30-2 , 36
AI176 Bauer, Jean 40 Burstyn , Ellen 166 Costello , Steve 64
Aidoo , Blondel 131 Bauman , I\!l ichael 62 Butterfly Kiss 129 Cox , Brian 25
AIM Image 112 Beach, The 96-9 Bye-Bye 103 Cradle Will Rock, The 39
Akerman , Chantal159 , 176 Beard , John 118 , 140 , 143-4 Byrne , John 129 Craig , Oaniel 106-7
Aldridge , Alan 22 Beatty, Warren 88 Crawford , James 118 , 122
Alien 90 Becher, Bernd and Hilla 137 Caan , James 168 , 168 Crawford , Randy 151
게'ien Resurrection 90-5 Becker, Klemens 108 , 114 Cage , Nicolas 25 , 25-26 , 28 , 29 , Cronos 77
Aliens 90 Beecroft , Jeffrey 160 122 , 124-5 , 127 Crosswind Films 103
AII That Heaven Allows 152 , 153 Before the Rain 69 , 87 Callas , Maria 166 Crow: City of Ange/s, The 39
AII the President ’'s Men 161 , 161 Being John Malkovich 14-21 Camargue 53-4 Crowe , Russell 110
Allen , John 11 Being There 162 , 162 Cameron . James 90.98 Culkin , Kieran 22-3 , 23
Allen , Kevin 103 , 129 Belle et la bête , La 42 Cameron , Julia 71 Cuming , Alan 30
Allen , Woody 100-1, 100- 1 , 147 Bellows , George 71 , 75 Campion , Jane 97 Cunliffe , Freddie 134 , 137
Ally McBeal 118 Belmont , Lara 133 , 133 , 137 , 137 Caravaggio 67 Cusack , John 15 , 15 , 19 , 19 , 138 ,
Almendros , Nestor 67 Benton , Robeπ 67 Carax , Leos 39-40 , 44 , 49-50 , 49 , 138-9
Almost Grown 22 Bernier, Sylvain 67 52
Along Came Polly 129 Beπolucci ， Bernardo 9 , 69 , 84-5 Care , Peter 22 Oahan , Alain 44 , 49
Altman , Bruce 126 84 , 87-9 , 87 , 101 Carlin , Michael 132 , 137 Oahl , John 39
Altman , Robert 67 Betty, The 93 Carné. Marcel 71 Oaldry, Stephen 150-1 , 155 , 156
Amants du Pont-Neu f, Les 50-5 Big Tease, The 129 Caro , Marc 72-7 Oamon , Matt 174 , 176 , 179 , 179
Amarcord9 Biggs , Jason 101 Carter, Suzanne 56 Oance on the Shore, The 83
American Friend, The 9 Binoche , Juliette 46 , 46-48 , 48 , 50- Case , Jeff 118 , 122 Oangerous Lives of Altar B이!s， The
Americans, The 9 , 60 , 80 1 , 52 , 54-5 , 54-5 Cassavetes , John 13 22-3
Amsterdam 142 Birth 159 Cat People 90 Oante ’'s In엄m065
Anders , Allison 39 Black , Jack 138 Celebration. The 30 Oark Passage 17 , 17
André , Marcel 43 Black Park 64 Chapman , Oavid 138 Oarrieux , Oanielle 84
Ange Bleu, L' 71 Blair, Les 129 Charlie and the Ooctor 39 Oaves , Oelmer 17
Annaud , Jean-Jacques 77 Blauvelt , Christopher 174 , 180 Chatelet 54 Oay, Josette 42
Annie Hall1 00 Bleach-bypass process 71 , 81 Chavez. Michael 62 OeBlau , John 166
Anniversary Paπι The36 Bletchley Park 140-1 , 143-4 , 144 Chevrin , Rémy 70 Oe Bont , Jan 90
Antonello 85 Bogart , Humphrey 17 Chianti 84 Oe Carvahlo , Carlos 140-1 , 146,
Anything Else 100-1 Bond , Ashley 108 Chien Andal，。μ Un9 150
Apocalypse Now 69 , 97 , 97 Bonnard , Pierre 131 Chimpanzee 90 Oe La Tour, Georges 167 , 167
Appleby, Oavid 108 , 114 Bono Film and Video 11 Chop Suey9 Oe Palma , Brian 130
Apted , Michael 140 Boorman. John 97 Christian F 37 Oe Santis , Giuseppe 88
Arbus , Oiane 181 Boot, Oas 143 Ci nema Arts 11 Oe Vincentis. OV 139
Argentina 174 , 176-7 Boroscope 104 Ci néma v강 rité 180 Oeath Valley 174 , 176
Argo , Victor 168 Boswell , Simon 133 Cit깅 des enfants perdus , La Oelicatessen 70-6 , 80 , 94 , 95 , 99 ,
Amold , John 70 Botteselle , Oaniele 108 ,114 74-9 99
Arpajon 75 Boulevard Sébastapol 55 Citizen Kane 69 Oeliverance 97
Arrighi , Luciana 64-5 Bowie , Oavid 46 City of Lost Children 74-80 , 85 , 90 , Oel Toro , Guillermo 77
Aπ of Colour. The 129 Bowling for Columbine 186 92 Oeluxe 153
Ashby, Hal 162 Boy Meets Girl 40-3 Clemens , John 10 Oeprez , Therese 138
Index
Deulen , Eric 184-5 , 184
디 az ， Cameron 14 , 15 , 18 , 21
DiCaprio , Leonardo 96 , 98 , 97-98
Dillane , Stephen 152
Di Palma , Carlo 100
미 sney， Walt 20
Disney World 164
Dix , Otto 75
Djurkovich , Maria 150-1
Doernberg , David 56
Don , F3 0bin Cameron 130
Donne , John 148
D ’ Onofrio , Vincent 22
Double Negative 154
Douglas , Michael 161 , 161 , 164-5
Dougnac , Marie-Laure 72-3 , 72-3 ,
99 , 99
Drapeau , Yves 67
Oream Lover 39
Dreyer, Carl Theodor 71 , 148
Dreyfus , Jean-Claude 72-3 , 73 ,
77
Dridi , Karim 103
DLJbet , Bruno 70
Dubin , Mitch 122
Dubus , Jack 44
Dunaway, Faye166 , 166
Easy Rider 9\
Eckhart , Aaron 64 , 65-6
Eclair Laboratory 75
Edmiston , Brad 80
Edwards , Paul140
Egger, Jürgen 129
Eggleston , William 9 , 80
Ehle , Jennifer 64 , 64 , 66
Eisenr끼an ， Rafael159
Eisenstein , Sergei 132
Eisner, Breck 129
Eisner, Lotte 69
Elephant 180-5
Elijah 19 -
Elliott , Sc~tt 129
Embrasse-Moi 69
Emerichs , David 80 , 90
Emilfork , Daniel 77
Enigma 140-5 , 149
ENR 71 , 75 , 85 , 90 , 97-8 , 162 ,
164 , 181
Ensby, John 134
ER 148
Erice , Victor 129
Escoffier, Jean-Yves 38-67 , 49 , 63 ,
65
Evans , Marc 103
Evans , Mike 64
Evita 69
Excess Baggage 39
Exorcist, The 80 , 80
Experiment on a Bird in the Air
Pump, An 149 , 149
Fakahatchee Swamp , 29 Gondry, Michel 13 Hyatt Tokyo 33
Falconetti , Renée 148 , 148 Good 이lill Hunting 39
Fall of the Roman 단npiré， The 1 09 Gorelick , Bob 62 I am Cuba 129
Far From the Madding Crowd 65 Grace of My Heart 39 I Could Read the Sky 1'29
Fellini , Federico 9 , 88 Granel l. José 143. 143 lIIuminata 159
Felz, Jamie 22 Grapes of ~ψath， The 69 In Oreams Eill
Fenêtre sur cour 85 Gray, James , 166-8 , 166-7 , 169- Interpreter, The 69
Ferté Allais , La 75 71 , 172 Irons , Jeremy 87
Festen 30 Green , Michael 1ηo Irvine , Baz 130 , 132-4 , 137
15 Minutes 39 Greensleaves , Sue 85 Isle of Wight 143 , 143
Film Form 132 Greer, Judy 25 , 25 Issermann , Aline 69
Film Noir 16 Grimas , Jonas 129 Itten , Johannes 129
Fincher, David 69 , 80 , 83 , 160 , Gropman , David 67
162 , 163 , 165 Guerre du Feμ La 77 Jack and Sarah 39
Rnding Forrester 159 'G uinan , Robert 80 Jackson , Mick 90
Finklea , Carrie 183 Guinne!)s , Alec 109 Jacobi , Derek 105
Fitz , Peter 176 , 177 Gulla , Peter 22 Jancsó , Miklós 180
’ Flèche , Manuel 69 , 90 Gummo 56-6 1 Jaune Revolver 39
Fleming , Tim 108 Guzman , Jorge H. 62 Jeanne Oielman 23 Quai du
Fleskes , Bruce “ Sarge" 180 Commerce 1080 Bruxelles 159 ,
Florence 11 4 Hall , Conr능d W. 80 , 90 176
Foden , Tom 122 , 127 Hall , Graham 96 Jeunet , Jean-Pierre 70 , 73-7 , 90 ,
Fonda , Peter 98 H allstroπ1 ， Lasse 98 94-5
Fontaine , Stéphane 50 Hannah and Her $isters 147 Joanu , Phil 159
Ford , John 69 Hanniba/114-17 Joffé , Roland 133
Ford Plant , The 10 Happold , Buro 112 , 112 Johansson
...... , Scarlett 30-2 , 31 , 34-7
Fournie . Christian 50 Harald 129 Johnson , Karl 105
Frank , Robeη 9 , 69 , 80 , 159 Harris , Ed 67 , 67 Jonze , Spike 14-15 , 14 , 16 , 18 , 20 ,
Frears , Stephen 138-9 , 139 Harris , Richard 108 20 , 24 , 25 , 28
Freeman , Morgan 62 , 63 , 80-1 , 81 , Hayashi , Fumihiro 36 Jordan , Johnny 140
83 Hayden , Benjamin 180 Jordan , Neil69
French Connection, The 80 Hayman , Gordon 64 Jouffret , Jacques 56
Freund , Karl 75 HBO 181 Jump the Gun 129
Friedkin , William 80 Headey, L.ena 64 , 64
Frost , Alex 183 , 184-5 , 185 Heaven's Prisoners 159 Kalatozov, Mikhail 129
Frozen 97 Hellman , Monte 126 Kaplan , Michael81
Gabin , Jean 84
Hermanson , Sebastian 174
Herriguel , Eugene 159
. Kaufman , Charlie 14 , 24 , 26-7
Kazan , Nicholas 39
Gallo , Vincent 10 , 10-13 , 12-13 Herzfeld , John 39 Keaton , Buster 43
Game, The 160-5 Hicks , Kristen 182 Keener, Catherine 18 , 19 , 21
Gardner, Kirk 14 , 22 Hicus , Alicia 180 Kes 22 , 22
Gauthier, Bertrand 39 Higgins 1I 1.(Biggles) , John 150 Khondji , Darius 68-103 , 68 , 70 , 74 ,
Gazzara , Ben 13 , 13 High Fidelity 138-9 82 , 84 , 87 , 89 , 97 , 101
Geddes , Bill 64 High Schoo/ 181 Kidman , Nicole 67 , 152-4 , 152-4
Gemahling , Bernard 70 , 75 Hirsch , Emile 22-3 Kids 56
George , Nicole 184 Hitchcock by Truffaut 69 Kiéslowski , Krzysztof 103
Georges Oe La TOur and His World Hjejle , Iben 139 Kinnear, Greg 62 , 63
129 Hockney, David 123 , 129 Klimov, Elem 129
Gérome , Jean-Lébn 113 , 113 Hogardo , Ticky 73 Klute 80 , 161
G성:rry 174-9 , 185 Hollywood , Gary 131 Koninckx , Marc 50 , 74 , 84 , 87
Giannihi , Giancarlo 11 4 , 114 , 116 Hopkins , Anthony 67 , 67 , 1애 4 , Korine , Harmony 56-7 , 56 , 60-1
Gimpel , Sandra Lee 28 , 28 116 , 116-7 Koudelka-Gypsies 9
Gladiator 108-14 Hopper, Dennis 98 K-PAX 118-21
Glasberg , Jimmy 51 Hours, The 150-7 Kubrick , Stanley 18
Glazer, Jonathan 159 Human Stain , The 67 Kuhn , Heinrich 71
Glover, Brian 22 H.u me , Simon 114 Kurosawa , Akira 111 , 112
Glover, Crispin '62 Hunger: The Swords Section , Th e Kwiatkowski , Jim 174 , 176 , 176
Godard , Jean-Luc 31 , 103 103 Kyoto 34
Godfather, The 144 , 168 Hunt , Anthony 143 , 143
Godfather Part 11, The 168 Huston , Anjelica 13 , 13 LaBute , Nei162 , 63 , 64-5 , 65
Goldin , Nan 16 Hutchings , Gary 150 Lake Consequence 159
 Index

Lambton , Anne 105 Magis , Christian 50 Name of the Rose, ηle 77 Pester, Jan 130
Landay, Vincent 14 , 28 Malick , Terrence 9 , 103 Nanterre 51 Peterson , Wolfgang 143
Lang , Fritz 69 Malkovich , John 14-16 , 15 , 18 National Geographic Magazine 9 , Petrycki , Jacek 129
Langlois , Olivier 39 Malone , Jena 22 106 Phantom of the Opera , The 103
Lanzmann , Claude 51 Man Who Fe!l to Earth , The 118 Nerone , Aldo 84 , 88 Phelps , Nigel90 , 92-3 , 93
Last 7김ngo in Paris 84-5 , 84 Manchevski , Milcho 69 , 87 Newton , Helmut 9 Phoenix , Joaquin 166 , 168-9 , 172
,
Lavant , Denis 40 , 41 , 42-4 44 , 46 , Manguin , Henri 85 New York 80 , 100 , 118 , 154 , 159 3 , 173
46-8 , 48 , 50- 1, 50-1 , 54-5 , 55 Manhattan 100-1 NFL 10 Phuket 98
Law, Phyllida 130 Mann , Anthony 109 Nichols , Dee 56 Piano, The 97
Lawrence , Steve 168 Manoogian , Haig 69 Nichols , Mike 146-7 , 147 Picc이 i ， I\l1 ichel44 , 44 , 47-8
Lawson , Bruce 180 Map of the World 129 Nicholson , Jack 98 Piga!le 103
Leave Her to Heaven 78 ~ 78 Marie-Louise ou la permission 69 , Nielson Jnr, William J. 138 Pinewood 137 , 142-3 , 147 , 154-5
Ledoyen , Virginie 99 90 /\Jight Owls 22 Pinon , Dominique 72-3 , 79 , 79 , 99
Lefrancois , Michel 44 Marino , Stefano 88 Nil By Mouth 133 Pitof 78
Leigh , Jennifer Jason 30 、 Marooned 129 190085 Pitt , Brad 81-2 , 83
Leonardo Da Vinci 45 Martone , Gary 100 , 166 /\Jinth Gate, The 69 , 96- 7 Pittenweem 130
Leopard, The 69 , 159 Marzolff, Serge 40-1 Nix , Gino 10 , 14 , 19 Place de la Concorde 54
Le Sourd , Philippe 84 Masters of Light: Conversations Noakes Wharton , Angela 152 Plaisir, Le 84-5
Let ’'s Get Lost 11 with Contemporary Noguchi 34 Plan séquence 101
Lewis , Martin 71 , 71 , 75 Cinematographers 159 Northam , Jeremy 64 , 64-66 , 142 , Platoon 97 , 185
Like a Ro !ling Stone 13 Matchstick Men 122-7 142 Plunkett and Ma c/eane 103
LJsi , Joe 173 Mathieson , John 102-127 , 102 , /\losferatu 71 Pocock , Gary 96
Uoyd-Parry, Rupert 104 115 , 117 , 120 , 122 , 124-5 , 127 Nurse Betty 62-5 Polanski, Roman 65 , 69 , 96
.Loach , Ken 22 Matrix, The 13 Nuytten , Bruno 73 Polígono Sur 39
Lohmann , Th omas 24 Matter of Li엄 and Oeath, A 129 Nykvist , Sven 100 Pollack , Sydney 69
Long , Tyler 22-3 Mauvais Sang 41 , 44-9 NYU film school 69 Po !lice Verso 11 3 , 113
Look me in the Eye 129 Max , Arthur80 , 108 , 113 Polytechnic of Central London 129
Looks and Smiles 22 Maybury, John 104-5 Oban 143 Ponte , Gideon 10 , 13 , 22
Loquasto , Santo 100 Mayer, Steve 137 Oldman , Gary 133 Pont-Neuf 42 , 52 , 54
Lord ofthe 마és 97 Menges , Chris 133 Oliva , Ignazio 89 Pope , Tim 39
Lorre , Peter 75 , 75 Mesa , Matías 175 , 180 Olvidados, Los 9 Possession 64 -6
L()s Angeles 126 , 153 , 160 Metropolitan Museum of Art 167 Ombre du doute, L’ 69 Powell , Michael 129
Lost in 끼rans lation 30-7 Mexico 161 -2 Ophüls , Max 85 Prague 69
Louie , Regan 22 Miami 153 , 154 Orlean , Susan 27 Pressburger, Emeric 129
Louiso , Todd 138 Miesler, Steve 122 Ossang FJ 69 Proust, Marcel 69
Louvre 55 Mill , The 143 Ossard , Claudie 72 Puccini , Giacomo 166
Love is the Oevil1 04 -7 /이111 Pond, The 11 9 Outcasts, The 9 Purple Rose of Cairo, The 147
Lovers on the Pont-Neuf, The 50-5 Miller, James A. 138 Ozawa , Toshi 10
Lowe , Roger 108 Miller, Jason 80 Ouai des brumes 70
LTC75 Miller, Wentworth 67 Pakula , Alan J . 80 , 161 , 161 Ouest for Fire 77
Lyon , Danny 159 Mills , Mike 13 Palazzo Vecchio 115 Ouick and the Oead, The 98
Milner, Nic 64 Paltrow, Gwyneth 64 , 65-6
MacCallum , Bruce 166 Milsome Mark 146 Panic Room 69 Rabaud , Pascal40
Macdonald , Alan 104-5 , 106 Miranda. Claudio 161 Paris Metro 53 Rae , Alistair 130 , 132
Macdonald , Andrew 96 Mirro r, Mirror 103 Parker, Alan 69 Rainford , Mark J. 22
MacFadyen , Matthew 145 Mission , The 133 Parrish , I\l1 axfield 118 , 119 Ramsey, Scott H. 100
McAlpine , Andrew 96 Modern Love 46 Parsons , Ralph C . 39 Randolph , Jane 90
McCann , Dona1 88 , 89 Mondino , Jean-Baptiste 79 Päη ， Arvo 174 Rawlins , Alan 90
McConkey, James 67 , 118 Montpellier 53 Passion of Joan of Arc, The 148 , Reason to Love, A 62
McConnell , 티 i 182 Moore , Julianne 117 , 152 , 152 , 148 Red and the White, The 180
McCormack , Mary 120 155 , 156-7 , 157 Pasteur 46 Redford , Robert 161
McFarlane , Todd 23 Moore , Michael 180 Peckre , Thomas 44 Reece Mews studio 105
McGarvey, Seamus 128-157 , 128 , Morenz , David 138 , 139 Pecorini , Nicola 85 , 87 Reid , Sheila 131
132 , 139 , 144 , 146-7 , 149-50 , Mother and Son 180 Peekaboo 103 Reilly, John C. 152 , 155
153-4 , 157 Mountain , Peter 96 , 99 Penitent Magdalene, The 167 Rembrandt 55
McGill , Bruce 127 Munch , Edvard 82 , 83 Periard , Michel 67 Reynolds , Jacob 57 , 57-60
McKinley, Michelle 56 Murnau , F.w: 69 , 71 Perlman , Ron 76-7 , 77 Riba , Michael 118
McMullen , Todd 62 Murray, Bi 1l 30 , 32-4 , 33 , 36-7 , 37 Perrier, Mireille 40-1 , 41 , 43 , 43 Ricci , Christina 10-12 , 11 , 31
McNamara , Keith 104 Muybridge , Eadward 106 Personal Journey with Martin Richardson ’ ‘ Jake 22-3
Mad Love 75 My Last Breath 9 ’ Scorsese Through American Rickman , Alan 130-1
Madson , Dougie 118 Myslowski , Peter 146 Movies , A 39 Roadmovie 9
‘ ‘
’·
Index
Robbins , Tim 39 , 138
Robinson , John 180 , 182 , 183
Rocco and his Brothers 168
Rock , Chris 62 , 63
Rockwell , Sam 122 , 127
Rolling Stones , The 13
Romano , Peter 90 , 95
Roselli , Jimmy 176
Rosier, Michèle 69
Ross , Anne 30
Rossetti , Dante Gabriel65
Roth , Ann 151
Roth , Tim 132 , 132 , 134 , 137
Rotunno , Giuseppe 88
Rounders 39
Rovello , Jack 152 , 155
Rudin , Scott 156
Rudolph , Lars 176 , 177
Rufus 72
Rules of the Game, The 85
Run Lola Run 23
Rundell , Steve 131
Russell , David 0 ‘ 11
Russell , Ken 65
Ryder, Winona 95 , 95
Sahara 129
Salvato , Larry 159
San Francisco 160. 165
San Francisco Art Institute 9. 22
Sátántangó 176-7
Savides , Harris 13 , 158-185 , 160
2 , 166 ~ 7 ， 169 , 179
Savoye , Roland 74 , 79
Schaefer, Dennis 159
Schaer, Martin 160
Schiele , Egon 75
Schlesinger, John 65
School of Visual Arts. The 159
Schrader, Paul 39
Schumacher, Joel 103
Scorsese , Martin 13 , 39 ‘
Scott , Alex 96 , 98 , 98
Scott , Dougray 140 , 141 -2 , 143 ,
145
Scott , Jake 103
Scott , Ridley 103 , 108 , 110-16 ,
112 , 122 , 124-5 , 127 , 159
Secret Knowledge: Rediscovering
the Lost 7강chniques of the Old
Masters 129
Sellar, lan 69
Sellers , Peter 162
Serra , Eduardo 132
Serreau , Coline 39
Seven 80-101 , 87 , 90
Seven Samurai, The 11 0
Seville Southside 39
Sewell , Jacob 56 , 56
Shibuya 32 , 32
Shoah 39 , 51
Shuttleworth , Andy 118 , 122
Siegel , Tom 11
La Sieste (Le Rocking-Chair,
Jeanm잉 85
Silvestri , Gianni 84
Simone Barbès ou la vertu 39
Sindall , Philip 140 , 140-1 , 142 ,
145 , 150 , 151 , 153 , 156 , 156
Siouxsie and the Banshees 103
히öström ， Victor 70
Slab Boys, The 129
Smith , Howard 64
Softley, lain 118-19
Sokuruv, Alexandr 180 , 180
Southlander 9
Spacey, Kevin 82-3 , 119 , 119-21
Speed 2 - Cruise Control 90
Spencer, Norris 114
Spielberg , Steven 176
Spirit of the Beehive, The 129
Splash 123
Spring Night 71
St Jerome in his Study 85
Stahl House 63
Stahl , John M. 78
Standing Room Only 1 76
Starman 118
State of Things , The 9
Stealing Beauty 84-90
Steichen , Edouard 71
Stieglitz , Alfred 71
Stone , Oliver 97 , 185
Storaro , Vittorio 84 , 85 , 88
Streep , Mery127 , 27-8 , 150 , 150 ,
152 , 152 , 157
Street Life 151
Strong , Christopher 80 , 90
Stuart , Alexander 132
Study after Velázquez ’ Portrait of
Pope Innocent X 107 , 107
Sundance 56
Sunrise 69 , 71
Sutton , Nick 57 , 57 , 61
Svoboda , Josef 53
Swanek , Eric 166
Swinton , Tilda27 , 99 , 105 , 132 ,
134
Szabo , Joseph 22
Tarr, Béla 176 , 180
Taylor, Jordan 184
Taylor, Paul 24
Taylor, Peter 108
Téchiné , André 69
7능enage 22
Temple , Julien 103
7능ss 65
Theron , Charlize 169 , 173
Thompson , Emma 130 , 130 , 146-
9.147-9
Thompson , Kevin 166
Three Kings 11 Webb , Alex 159
Tierney, Gene 78 , 78 Weber, Bruce 9 , 11
Ti tanic 90 , 98 , 131 Welles , Orson 69
Tokyo 32-3 , 37 Wenders , Wim 9
Tourneur, Jacques 90 Werck，π leister Harmonies , Th e 176 ,
Touze , Myriam 44 177
Tc기Nards a Truer Life 22 Westman. Gucci 13
Trauma 103 Wexler, Haskel1147
Treilhou , Marie-Claude 39 Whatley, J 비 ian 160
Trésor des iles chiennes 69 What 능 Eating Gilbert Grape? 98
Trois homes et un couffin 39 White Women 9
Truffaut , François 69 Who ’'s Afraid of Virgina 이loolf? 147 ,
Turner, Joseph Mallord William 109 147
Turturr，。’ John 159 Williams , Mark 24 , 30-1
Tuscany 89 Willis , Gordon 100 , 144
Twentieth Century-Fox 90 Wimbledon 69
Twin Town 103 Wind, The 70 , 70
Two Lane Black Top 126 Winstone , Ray 132-3 , 134 , 137
Tykwer, Torn 23 Winterbottom. Michael129
까l er， 니v 85 , 85 , 87-9 Winter Gues t. The 130- 1
ηson ， Nathan 183 Wiseman , Frederick 180-1
Tysuki , Satoshi 30 Wit 140 , 146-9
Witch Hunt 39
Umetelli , Enrico 84 , 87 , 88-9 Witkin , Joel-Peter 80
Unger, Deborah Kara 165 Wright of Derby, Joseph 149 , 149
Writing Commission , The 61
끼 Joey 166 Wurtzel , Stuart 146-7 , 146-7 , 148
Valentine , I\l1 ike 96 , 99
l써mpyr71 》김rds， The 166-73
Vandestien , Michel 44 , 47 , 50 , 53 Yeux des oiseaux, Les 39
Van Sant , Gus 159 , 174 , 174 , 176,
179-82 , 179 Zellweger, Renée 62 , 62-3
Veduta 85. 85 Zen andtheAπ 。f Archery 159
Velez , Hipólito 174
Veπ。v， Dziga 132
Vesselic , Zoran 90
Viard , Karin 71
Vigié , Jacques 40
Vince , Pruitt Taylor 62
\/interberg , Thomas 30
\/isconti , Luchino 69 , 88 , 159 , 168
Vittet , Judith 74 , 77 , 77 , 79 , 79
Voe , Sandra 131 , 131
Volcano 90
Von Sternberg , Josef 71
Von Stroheim , Erich 71
Voyatzis , Yorgo 70
Vreeland , Diana 9
Wachowski Bros. , The 13
Wada , Juji 30
Wahl , Bob 13
Wahlberg , Mark 168 , 172
Walsh , Baillie 103
Walters , Lee 130 , 132 , 140 , 142-3 ,
146 , 150
Walters , Terry 143
War Zone, The 132-7
Ward , Nick 128
Weaver, Sigourney 90 , 92 , 93 , 95 ,
95
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