American Cinematographer - February 2010 - 18

Production Slate In a scene from Fish Tank, shot by Robbie Ryan, BSC, Connor (Michael Fassbender) tries to forge a bond with his girlfriend’s daughter, Mia (Katie Jarvis), during a family outing. I Hard Lessons By Patricia Thomson From the beginning of their professional collaboration, director Andrea Arnold put Robbie Ryan, BSC through his paces. “The first shot I ever asked Robbie to do was the opening in Wasp,” Arnold says, referring to her 26-minute drama about a single mother who is unable to feed her children and makes some unwise choices. “I asked if he could be on [actress] Natalie Press’ face as she ran down a flight of stairs with four kids. He ran down backwards!” Wasp (2005) went on to win the Academy Award for Best LiveAction Short, and since then, Arnold and Ryan have continued their collaboration with Red Road, which won Cannes’ Prix du Jury in 2006 (AC April ’07), and Fish Tank, which made a splash at last year’s Cannes and AFI film festivals. For Fish Tank, which retains the raw naturalism of Arnold’s prior films, Ryan was once again running down stairs and through cramped quarters. The film focuses on 15-year-old Mia (Katie Jarvis), a high-school dropout who lives with her party-girl mother (Kierston Wareing) and prepubescent sister (Rebecca Griffiths). Mia’s solace is hip-hop dancing, which she practices alone in an empty flat. One 18 February 2010 day, her mother brings home a new boyfriend, Connor (Michael Fassbender), who soon moves in. Easygoing and attentive to both daughters, Connor conquers Mia’s wariness with a mix of paternal care and charm, and the inexperienced girl is soon grappling with feelings for him that are not familial. One of Arnold’s chief concerns was to foster viewer empathy for her troubled protagonist. “I knew Mia might be hard to like, but I believe if you can see the world from her perspective, you can find some empathy for her, so I wanted the camera to stick close to her and experience the world the way she does,” she says. “I hope Fish Tank will help people fear teens like Mia less.” Scenes were shot in chronological order. “I did that mainly for Katie because she’d never acted before,” explains Arnold. “I wanted her to feel she knew where she was day by day. We shot the last scene on the last day, and I feel Katie had really changed and grown — it showed in her face.” Sequential shooting was facilitated by the proximity of key locations, most of which were in adjacent apartment towers in Essex, England. Three side-by-side flats served as Mia’s apartment, the production’s equipment room and the green room. Unfortunately, chronological shooting also meant most American Cinematographer Fish Tank photos by Holly Horner, courtesy of IFC Films.

American Cinematographer - February 2010

Table of Contents for the Digital Edition of American Cinematographer - February 2010

American Cinematographer - February 2010
Contents
Editor’s Note
President’s Desk
Short Takes: What’s in the Box?
Production Slate: Fish Tank • Dollhouse
Bad Moon Rising
Artistry and Conscience
Working With the Red
Terror in Technicolor
Post Focus: Offhollywood Digital
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Marc E. Reshovsky, ASC
Clubhouse News
ASC Close-Up: Paul Cameron
American Cinematographer - February 2010 - American Cinematographer - February 2010
American Cinematographer - February 2010 - Cover2
American Cinematographer - February 2010 - 1
American Cinematographer - February 2010 - 2
American Cinematographer - February 2010 - Contents
American Cinematographer - February 2010 - 4
American Cinematographer - February 2010 - 5
American Cinematographer - February 2010 - 6
American Cinematographer - February 2010 - 7
American Cinematographer - February 2010 - Editor’s Note
American Cinematographer - February 2010 - 9
American Cinematographer - February 2010 - President’s Desk
American Cinematographer - February 2010 - 11
American Cinematographer - February 2010 - Short Takes: What’s in the Box?
American Cinematographer - February 2010 - 13
American Cinematographer - February 2010 - 14
American Cinematographer - February 2010 - 15
American Cinematographer - February 2010 - 16
American Cinematographer - February 2010 - 17
American Cinematographer - February 2010 - Production Slate: Fish Tank • Dollhouse
American Cinematographer - February 2010 - 19
American Cinematographer - February 2010 - 20
American Cinematographer - February 2010 - 21
American Cinematographer - February 2010 - 22
American Cinematographer - February 2010 - 23
American Cinematographer - February 2010 - 24
American Cinematographer - February 2010 - 25
American Cinematographer - February 2010 - 26
American Cinematographer - February 2010 - 27
American Cinematographer - February 2010 - 28
American Cinematographer - February 2010 - 29
American Cinematographer - February 2010 - 30
American Cinematographer - February 2010 - 31
American Cinematographer - February 2010 - Bad Moon Rising
American Cinematographer - February 2010 - 33
American Cinematographer - February 2010 - 34
American Cinematographer - February 2010 - 35
American Cinematographer - February 2010 - 36
American Cinematographer - February 2010 - 36A
American Cinematographer - February 2010 - 36B
American Cinematographer - February 2010 - 37
American Cinematographer - February 2010 - 38
American Cinematographer - February 2010 - 39
American Cinematographer - February 2010 - 40
American Cinematographer - February 2010 - 41
American Cinematographer - February 2010 - 42
American Cinematographer - February 2010 - 43
American Cinematographer - February 2010 - 44
American Cinematographer - February 2010 - 45
American Cinematographer - February 2010 - Artistry and Conscience
American Cinematographer - February 2010 - 47
American Cinematographer - February 2010 - 48
American Cinematographer - February 2010 - 49
American Cinematographer - February 2010 - 50
American Cinematographer - February 2010 - 51
American Cinematographer - February 2010 - 52
American Cinematographer - February 2010 - 53
American Cinematographer - February 2010 - 54
American Cinematographer - February 2010 - 55
American Cinematographer - February 2010 - Working With the Red
American Cinematographer - February 2010 - 57
American Cinematographer - February 2010 - 58
American Cinematographer - February 2010 - 59
American Cinematographer - February 2010 - 60
American Cinematographer - February 2010 - 61
American Cinematographer - February 2010 - 62
American Cinematographer - February 2010 - 63
American Cinematographer - February 2010 - 64
American Cinematographer - February 2010 - 65
American Cinematographer - February 2010 - 66
American Cinematographer - February 2010 - 67
American Cinematographer - February 2010 - Terror in Technicolor
American Cinematographer - February 2010 - 69
American Cinematographer - February 2010 - 70
American Cinematographer - February 2010 - 71
American Cinematographer - February 2010 - 72
American Cinematographer - February 2010 - 73
American Cinematographer - February 2010 - 74
American Cinematographer - February 2010 - 75
American Cinematographer - February 2010 - 76
American Cinematographer - February 2010 - 77
American Cinematographer - February 2010 - Post Focus: Offhollywood Digital
American Cinematographer - February 2010 - 79
American Cinematographer - February 2010 - 80
American Cinematographer - February 2010 - 81
American Cinematographer - February 2010 - New Products & Services
American Cinematographer - February 2010 - 83
American Cinematographer - February 2010 - 84
American Cinematographer - February 2010 - 85
American Cinematographer - February 2010 - 86
American Cinematographer - February 2010 - 87
American Cinematographer - February 2010 - International Marketplace
American Cinematographer - February 2010 - 89
American Cinematographer - February 2010 - Ad Index
American Cinematographer - February 2010 - 91
American Cinematographer - February 2010 - In Memoriam: Marc E. Reshovsky, ASC
American Cinematographer - February 2010 - 93
American Cinematographer - February 2010 - Clubhouse News
American Cinematographer - February 2010 - 95
American Cinematographer - February 2010 - ASC Close-Up: Paul Cameron
American Cinematographer - February 2010 - Cover3
American Cinematographer - February 2010 - Cover4
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