American Cinematographer - January 2015 - 73

Later there's a brief night exterior shot of the estate's façade under a
full moon.
Pope: I lit it with two Quarter
Wendy lights. It's a lovely, soft light and
I use it all the time on night exteriors. If
you throw it - or the Full Wendy -
from a certain distance, it creates a single
shadow.
There's a striking night interior
in the hallway at Mrs. Booth's, where
Turner kisses her as she holds an oil
lamp.
Pope: That moving oil lamp,
though tiny, was the main source, with a
little moonlight fill hanging in the air.
In Mrs. Booth's house, there are
many shots where you show slightly
overexposed fishing boats outside the
window of Turner's room.
Pope: Yes, people keep saying to
me that it must be CG or bluescreen out
those windows. Of course not! It's a real
house, with a real exterior. And it had to
be. What makes it special is the reality of
both interior and exterior views coming
together.
Suzie Davies, the production
designer, did a great job throughout the
entire film. With her choice of floor, bed,
wallpaper, and the massive work she
undertook to age the outside views, she
helped make this room - and in fact
this entire seaside location - [look] like
a painting.
For the day interiors at Mrs.
Booth's house in Margate, we basically
used HMIs positioned outside. The
scene where Turner is shown his room
had very tricky light. We were in a real
location in an upstairs room with a very
low ceiling, looking straight toward the
two windows and the sea beyond. The
sea view through the windows was in full
sun and really hot, whereas the house
itself was in full shadow. To get light
coming into the room, we aimed two
Arri M90s straight up against the ceiling
of the room from the street below. At
one stage, Mrs. Booth opens one of the
windows and gets hit by the light of one
of the lamps - but happily, it just looks
like she's been hit by the sun.
In the room itself, we were forced



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American Cinematographer - January 2015

Table of Contents for the Digital Edition of American Cinematographer - January 2015

Contents
American Cinematographer - January 2015 - Intro
American Cinematographer - January 2015 - Cover1
American Cinematographer - January 2015 - Cover2
American Cinematographer - January 2015 - 1
American Cinematographer - January 2015 - 2
American Cinematographer - January 2015 - Contents
American Cinematographer - January 2015 - 4
American Cinematographer - January 2015 - 5
American Cinematographer - January 2015 - 6
American Cinematographer - January 2015 - 7
American Cinematographer - January 2015 - 8
American Cinematographer - January 2015 - 9
American Cinematographer - January 2015 - 10
American Cinematographer - January 2015 - 11
American Cinematographer - January 2015 - 12
American Cinematographer - January 2015 - 13
American Cinematographer - January 2015 - 14
American Cinematographer - January 2015 - 15
American Cinematographer - January 2015 - 16
American Cinematographer - January 2015 - 17
American Cinematographer - January 2015 - 18
American Cinematographer - January 2015 - 19
American Cinematographer - January 2015 - 20
American Cinematographer - January 2015 - 21
American Cinematographer - January 2015 - 22
American Cinematographer - January 2015 - 23
American Cinematographer - January 2015 - 24
American Cinematographer - January 2015 - 25
American Cinematographer - January 2015 - 26
American Cinematographer - January 2015 - 27
American Cinematographer - January 2015 - 28
American Cinematographer - January 2015 - 29
American Cinematographer - January 2015 - 30
American Cinematographer - January 2015 - 31
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American Cinematographer - January 2015 - 33
American Cinematographer - January 2015 - 34
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American Cinematographer - January 2015 - 36
American Cinematographer - January 2015 - 37
American Cinematographer - January 2015 - 38
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American Cinematographer - January 2015 - 40
American Cinematographer - January 2015 - 41
American Cinematographer - January 2015 - 42
American Cinematographer - January 2015 - 43
American Cinematographer - January 2015 - 44
American Cinematographer - January 2015 - 45
American Cinematographer - January 2015 - 46
American Cinematographer - January 2015 - 47
American Cinematographer - January 2015 - 48
American Cinematographer - January 2015 - K1
American Cinematographer - January 2015 - K2
American Cinematographer - January 2015 - K3
American Cinematographer - January 2015 - K4
American Cinematographer - January 2015 - K5
American Cinematographer - January 2015 - K6
American Cinematographer - January 2015 - K7
American Cinematographer - January 2015 - K8
American Cinematographer - January 2015 - K9
American Cinematographer - January 2015 - K10
American Cinematographer - January 2015 - K11
American Cinematographer - January 2015 - K12
American Cinematographer - January 2015 - 49
American Cinematographer - January 2015 - 50
American Cinematographer - January 2015 - 51
American Cinematographer - January 2015 - 52
American Cinematographer - January 2015 - 53
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American Cinematographer - January 2015 - 58
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American Cinematographer - January 2015 - 73
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American Cinematographer - January 2015 - Cover3
American Cinematographer - January 2015 - Cover4
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