American Cinematographer - February 2007 - 32

Director of

backings outside windows. "The
limiting to the style and
range of lighting we could use," says
Dunn. "It was also restricting for the
guys who had to crawl to set lights, so it
took a little bit longer [to light], and we
or

photography

space was very

Andrew Dunn,
BSC checks
the meter.

had to cut

a

few

more corners

than

we

might have otherwise." Dunn's philoso¬
phy was to treat the set like a practical
location, then focus on creating a "light¬
ing narrative" that conveyed the
passage of time. "So much happens in
that space. It's easy just to wash a place
with light and put the actors in there, but
to create a sense of life over time

make it feel like it has

different from

English weather, however, were the
interiors of the Potter family home.

we

These

the Isle of Man," says Noonan. "It's a
testament to Andrew's lighting and

were

built

on

the Isle of Man.

Because the island's barren

landscape

doesn't resemble that of the Lake

District, the production filmed interiors
there, converting two cowsheds into
stages. Half of the 48-day shooting
schedule took

taking

you

place there. "Remarkably,

constructed the Potters'

London house in

a

four-story

one-story cowshed

on

Martin's

design that you never question
foyer, staircase, drawing room,
conservatory, and dining room were all
built inside a shed with a 221 ceiling.
Little room was left for lights overhead
it." The

the

one

a

-

to

story and looks

time to the next

-

is

challenge."
Dunn

aided in this task

by
lighting between the
1870s and early 1900s, when gaslight
and candles gave way to electrical
lamps. During the flashbacks, Dunn
relied mostly on actual flame. "The
Eterna [8573] stock is so responsive! We
supplemented the darker recesses with
was

the evolution in

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Table of Contents for the Digital Edition of American Cinematographer - February 2007

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