American Cinematographer - January 2011 - 18

Production Slate
Prospera (Helen Mirren) summons all the forces of nature to whip up a storm and sink her enemies’ ship in The Tempest, a production that involved extensive location work in Hawaii.

The Tempest opens with one of Dryburgh’s shots, made on that first morning in Hawaii: a close-up of a sandcastle with storm clouds looming in the distance as violent waves crash on coastal In William Shakespeare’s The Tempest, the Duke of Milan, shelves of volcanic rock. A downpour begins, melting the castle in the Prospero, is usurped by his traitorous brother, Antonio, and Alonso, hand of Miranda (Felicity Jones), Prospera’s daughter. In the distance, the king of Naples, and exiled to an island where, some years later, he a raging tempest threatens a ship carrying Antonio (Chris Cooper), is able to exact his revenge. Julie Taymor’s film adaptation stars Helen Alonso (David Strathairn), some members of Alonso’s family, and Mirren as Prospera, the wife of Milan’s duke. In this version of the tale, their entourage. the duke is killed by Antonio, and Prospera is accused of murdering Prospera appears to command the elements, but it’s really the her husband with witchcraft. She is exiled to a distant island, and from sprite Ariel (Ben Wishaw) who does her dirty work. Visual-effects that point on, the story hews fairly closely to Shakespeare’s original supervisor Kyle Cooper directed the sequence in which Ariel, with the plot. aid of computer-generated water, wind and fire, wrecks the CG ship. The Tempest’s cinematographer, Stuart Dryburgh, ASC, and (The film’s visual effects were created by Cooper’s company, Prologue production designer, Mark Friedberg, had worked together on a Films.) On Hawaii’s Big Island, Dryburgh shot the live-action portion number of projects, including Taymor’s Across the Universe , shot by of the scene, which required a full-sized mockup of the period ship, Bruno Delbonnel, ASC, AFC. (Dryburgh did some additional photogcomplete with mast, deck and practical cabin. Dump tanks flooded raphy on that film, collaborating closely with animation director Kyle the set with water and giant fans sprayed it in every direction, and Cooper on the “Strawberry Fields” sequence.) When The Tempest’s 18K HMIs backlit a thick layer of smoke to create the impression of a original director of photography, Christopher Doyle, HKSC, departed stormy day exterior. the film after a few weeks of shooting, Friedberg campaigned on The Hawaiian island of Lanai, with its lava flows, craters and Dryburgh’s behalf, and just two days after getting the call, Dryburgh rocky cliffs, stands in for Prospera’s isle. (All of the photography on was on a plane to Hawaii with the script in hand. Lanai was done by Doyle. Dryburgh completed the location filming He showed up to set the next morning and dove right in. “I on Big Island.) Throughout the shoot, the filmmakers exploited each felt like I’d seen enough Shakespeare to know how it could work on location’s unique topography to accentuate the story’s supernatural film,” says Dryburgh, citing Peter Brook’s King Lear, Franco Zeffirelli elements. “There’s a sense that the island is all things to all people,” and Baz Luhrmann’s very different interpretations of Romeo and says Dryburgh. “It has a very diverse landscape: there’s seashore, Juliet, and Taymor’s Titus (AC Feb. ’00) as notable cinematic translaswamps, deep forests, high deserts, bare rock and orange-red earth. tions of the Bard. We weren’t worried about one scene matching the next.” ➣
18 January 2011 American Cinematographer

I

The Tempest Hits Hawaii By Iain Stasukevich

The Tempest photos by Melinda Sue Gordon, SMPSP, courtesy of Tempest Productions, LLC.



American Cinematographer - January 2011

Table of Contents for the Digital Edition of American Cinematographer - January 2011

American Cinematographer - January 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “Eye of the Storm"
Production Slate: The TempestAll Good Things
Letting Go
Tough Love
Back to the Grid
A League of His Own
Post Focus: EFilm at Universal• HPA Awards
Filmmakers’ Forum: Jody Lee Lipes
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Michel Hugo, ASC
Clubhouse News
ASC Close-Up: Jack Couffer
American Cinematographer - January 2011 - American Cinematographer - January 2011
American Cinematographer - January 2011 - Cover2
American Cinematographer - January 2011 - 1
American Cinematographer - January 2011 - 2
American Cinematographer - January 2011 - Contents
American Cinematographer - January 2011 - 4
American Cinematographer - January 2011 - 5
American Cinematographer - January 2011 - 6
American Cinematographer - January 2011 - 7
American Cinematographer - January 2011 - Editor’s Note
American Cinematographer - January 2011 - 9
American Cinematographer - January 2011 - President’s Desk
American Cinematographer - January 2011 - 11
American Cinematographer - January 2011 - Short Takes: “Eye of the Storm"
American Cinematographer - January 2011 - 13
American Cinematographer - January 2011 - 14
American Cinematographer - January 2011 - 15
American Cinematographer - January 2011 - 16
American Cinematographer - January 2011 - 17
American Cinematographer - January 2011 - Production Slate: The TempestAll Good Things
American Cinematographer - January 2011 - 19
American Cinematographer - January 2011 - 20
American Cinematographer - January 2011 - 21
American Cinematographer - January 2011 - 22
American Cinematographer - January 2011 - 23
American Cinematographer - January 2011 - 24
American Cinematographer - January 2011 - 25
American Cinematographer - January 2011 - 26
American Cinematographer - January 2011 - 27
American Cinematographer - January 2011 - 28
American Cinematographer - January 2011 - 29
American Cinematographer - January 2011 - Letting Go
American Cinematographer - January 2011 - 31
American Cinematographer - January 2011 - 32
American Cinematographer - January 2011 - 33
American Cinematographer - January 2011 - 34
American Cinematographer - January 2011 - 35
American Cinematographer - January 2011 - 36
American Cinematographer - January 2011 - 37
American Cinematographer - January 2011 - 38
American Cinematographer - January 2011 - 39
American Cinematographer - January 2011 - 40
American Cinematographer - January 2011 - 41
American Cinematographer - January 2011 - Tough Love
American Cinematographer - January 2011 - 43
American Cinematographer - January 2011 - 44
American Cinematographer - January 2011 - 45
American Cinematographer - January 2011 - 46
American Cinematographer - January 2011 - 47
American Cinematographer - January 2011 - 48
American Cinematographer - January 2011 - 49
American Cinematographer - January 2011 - 50
American Cinematographer - January 2011 - 51
American Cinematographer - January 2011 - Back to the Grid
American Cinematographer - January 2011 - 53
American Cinematographer - January 2011 - 54
American Cinematographer - January 2011 - 55
American Cinematographer - January 2011 - 56
American Cinematographer - January 2011 - 57
American Cinematographer - January 2011 - 58
American Cinematographer - January 2011 - 59
American Cinematographer - January 2011 - 60
American Cinematographer - January 2011 - 61
American Cinematographer - January 2011 - 62
American Cinematographer - January 2011 - 63
American Cinematographer - January 2011 - A League of His Own
American Cinematographer - January 2011 - 65
American Cinematographer - January 2011 - 66
American Cinematographer - January 2011 - 67
American Cinematographer - January 2011 - 68
American Cinematographer - January 2011 - 69
American Cinematographer - January 2011 - 70
American Cinematographer - January 2011 - 71
American Cinematographer - January 2011 - 72
American Cinematographer - January 2011 - 73
American Cinematographer - January 2011 - 74
American Cinematographer - January 2011 - 75
American Cinematographer - January 2011 - 76
American Cinematographer - January 2011 - 77
American Cinematographer - January 2011 - Post Focus: EFilm at Universal• HPA Awards
American Cinematographer - January 2011 - 79
American Cinematographer - January 2011 - 80
American Cinematographer - January 2011 - 81
American Cinematographer - January 2011 - Filmmakers’ Forum: Jody Lee Lipes
American Cinematographer - January 2011 - 83
American Cinematographer - January 2011 - New Products & Services
American Cinematographer - January 2011 - 85
American Cinematographer - January 2011 - 86
American Cinematographer - January 2011 - 87
American Cinematographer - January 2011 - International Marketplace
American Cinematographer - January 2011 - Classified Ads
American Cinematographer - January 2011 - Ad Index
American Cinematographer - January 2011 - 91
American Cinematographer - January 2011 - In Memoriam: Michel Hugo, ASC
American Cinematographer - January 2011 - 93
American Cinematographer - January 2011 - Clubhouse News
American Cinematographer - January 2011 - 95
American Cinematographer - January 2011 - ASC Close-Up: Jack Couffer
American Cinematographer - January 2011 - Cover3
American Cinematographer - January 2011 - Cover4
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