American Cinematographer - February 2011 - 28
◗
Masked Men
Right: To isolate Reid during his soliloquy in a Chinese restaurant, director Michel Gondry drew on his experience with in-camera effects, instructing background actors to remain motionless while Rogen delivered his lines. Bottom: After Reid’s impassioned speech, all hell breaks loose in the restaurant.
hood, a piece of glass was placed in front of the lens at a vertical 45-degree angle. Starting with a shot of Rogen positioned behind the pane of glass and the actor playing the young Reid positioned perpendicular to the camera’s field of view, Schwartzman could cross-fade the lights on both actors, revealing the younger actor’s reflection in the glass. “It’s a very simple trick — it’s how the early pioneers did things — and doing things this way played to Michel’s interests and strengths,”the cinematographer says. Schwartzman accentuated Reid’s alter ego with complex lighting cues. In
28 February 2011
a scene at a Chinese restaurant that’s filled with background extras and waiters buzzing between the tables, the camera dollies in on Reid as the ambient lights dim and a spotlight appears overhead. As he launches into a soliloquy, everyone else on the set freezes. At the end of his monologue, the camera dollies back, the lighting returns to normal, and all the players resume their actions. As Reid mentally reconstructs his father’s murder, Gondry illustrates it in his inimitable style: We see a cardboard cutout of the Reid mansion engulfed in flames, only the flames are the strands of
American Cinematographer
hair in a blonde wig that’s backlit with red-gelled light and blown about with leaf blowers. “We were laughing on set because it was the craziest thing we’d ever seen, but when it’s cut into the movie, it makes total sense,” says Schwartzman. Another simple trick involved polarizing gels and filters. The Green Hornet’s car, the Black Beauty, is a souped-up,armor-plated 1965 Chrysler Crown Imperial equipped with a safe room in the trunk and Gatling guns in the hood, and it has windows that can go from clear to opaque, blocking the view inside. Schwartzman had the car windows skinned with RoscoView polarizing gel and used a pola filter on the camera. “If you have a polarizing gel on a window and one in the camera, you can rotate them 90 degrees to each other and the gel goes black,” he explains. “If Michel wanted the windows to go black at the end of a dialogue scene, we’d just turn the filter.” Whenever the Green Hornet corners a gang of bad guys against a wall, Schwartzman replaced the car’s headlights with Barco HD projectors, which produced disorienting green and black patterns Gondry designed.
American Cinematographer - February 2011
Table of Contents for the Digital Edition of American Cinematographer - February 2011
American Cinematographer - February 2011
Contents
Editor’s Note
President’s Desk
Short Takes: God of Love
Production Slate: The Way Back • The Last Lions
Masked Men
Total Immersion
Behind the Music
A Cinematic Passport
Post Focus: MTI Films
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Robert Steadman, ASC
Clubhouse News
ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - American Cinematographer - February 2011
American Cinematographer - February 2011 - Cover2
American Cinematographer - February 2011 - 1
American Cinematographer - February 2011 - 2
American Cinematographer - February 2011 - Contents
American Cinematographer - February 2011 - 4
American Cinematographer - February 2011 - 5
American Cinematographer - February 2011 - 6
American Cinematographer - February 2011 - 7
American Cinematographer - February 2011 - Editor’s Note
American Cinematographer - February 2011 - 9
American Cinematographer - February 2011 - President’s Desk
American Cinematographer - February 2011 - 11
American Cinematographer - February 2011 - Short Takes: God of Love
American Cinematographer - February 2011 - 13
American Cinematographer - February 2011 - 14
American Cinematographer - February 2011 - 15
American Cinematographer - February 2011 - Production Slate: The Way Back • The Last Lions
American Cinematographer - February 2011 - 17
American Cinematographer - February 2011 - 18
American Cinematographer - February 2011 - 19
American Cinematographer - February 2011 - 20
American Cinematographer - February 2011 - 21
American Cinematographer - February 2011 - 22
American Cinematographer - February 2011 - 23
American Cinematographer - February 2011 - 24
American Cinematographer - February 2011 - 25
American Cinematographer - February 2011 - Masked Men
American Cinematographer - February 2011 - 27
American Cinematographer - February 2011 - 28
American Cinematographer - February 2011 - 29
American Cinematographer - February 2011 - 30
American Cinematographer - February 2011 - 31
American Cinematographer - February 2011 - 32
American Cinematographer - February 2011 - 33
American Cinematographer - February 2011 - 34
American Cinematographer - February 2011 - 35
American Cinematographer - February 2011 - Total Immersion
American Cinematographer - February 2011 - 37
American Cinematographer - February 2011 - 38
American Cinematographer - February 2011 - 39
American Cinematographer - February 2011 - 40
American Cinematographer - February 2011 - 41
American Cinematographer - February 2011 - 42
American Cinematographer - February 2011 - 43
American Cinematographer - February 2011 - 44
American Cinematographer - February 2011 - 45
American Cinematographer - February 2011 - Behind the Music
American Cinematographer - February 2011 - 47
American Cinematographer - February 2011 - 48
American Cinematographer - February 2011 - 49
American Cinematographer - February 2011 - 50
American Cinematographer - February 2011 - 51
American Cinematographer - February 2011 - 52
American Cinematographer - February 2011 - 53
American Cinematographer - February 2011 - A Cinematic Passport
American Cinematographer - February 2011 - 55
American Cinematographer - February 2011 - 56
American Cinematographer - February 2011 - 57
American Cinematographer - February 2011 - 58
American Cinematographer - February 2011 - 59
American Cinematographer - February 2011 - 60
American Cinematographer - February 2011 - 61
American Cinematographer - February 2011 - 62
American Cinematographer - February 2011 - 63
American Cinematographer - February 2011 - Post Focus: MTI Films
American Cinematographer - February 2011 - 65
American Cinematographer - February 2011 - 66
American Cinematographer - February 2011 - 67
American Cinematographer - February 2011 - New Products & Services
American Cinematographer - February 2011 - 69
American Cinematographer - February 2011 - 70
American Cinematographer - February 2011 - 71
American Cinematographer - February 2011 - 72
American Cinematographer - February 2011 - 73
American Cinematographer - February 2011 - 74
American Cinematographer - February 2011 - 75
American Cinematographer - February 2011 - International Marketplace
American Cinematographer - February 2011 - Classified Ads
American Cinematographer - February 2011 - Ad Index
American Cinematographer - February 2011 - 79
American Cinematographer - February 2011 - In Memoriam: Robert Steadman, ASC
American Cinematographer - February 2011 - 81
American Cinematographer - February 2011 - Clubhouse News
American Cinematographer - February 2011 - 83
American Cinematographer - February 2011 - ASC Close-Up: Barry Markowitz
American Cinematographer - February 2011 - Cover3
American Cinematographer - February 2011 - Cover4
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