American Cinematographer - February 2013 - 48

◗

War onCrime

Top: The crew shoots a scene in which Wooters offers to help Faraday get out of town. Bottom: After
Faraday agrees to testify, Wooters and O’Mara procure an arrest warrant for Cohen.

Velasco-Shaw] to clean things up.”
Fleisher adds, “We were lucky to
benefit from the California tax incentive, which allowed us to keep the whole
production in Los Angeles. One of the
things I’m proudest of is that we only
built a few sets in the whole movie.
Almost everything was practical or built
on location.”
The biggest location build was in
Bellflower: Slapsy Maxie’s, the nightclub that serves as the center of Cohen’s
48

February 2013

criminal operations. “That was built in
an existing location, a big shopping
complex from the 1930s or ’40s,” says
Beebe. “Almost the whole street is still
period and intact, so we were able to use
that great exterior, and then Maher
created the interior of the nightclub.”
For the scene that introduces the
club, the filmmakers sought to underscore the location’s importance with a
long, fluid take. From a high angle
looking down at the street, the camera
American Cinematographer

cranes down and finds Wooters, and
proceeds to follow him through the
crowd outside the club and into the
lobby. Then, in the main room of the
club, Wooters steps out of frame while
the camera continues forward toward
the stage, wending through the revelers
before finding Wooters once again.
When Wooters takes a seat at a table
with his friend, Jack (Sullivan
Stapleton), the camera finally cuts.
Getting the introductory shot
required Rosenfeld to ride the crane
with his Steadicam rig. When the crane
reached the ground, he was unhooked
and stepped off to follow Gosling. “It’s a
fantastic shot,” Buckley enthuses, “but
the amount of work that went into it
was enormous. It took about a week and
a half to get all the rigging done. Eddie
Cox, the rigging gaffer, did a fantastic
job, as did Bryan Booth.”
“Having decided on this approach
to introducing the club in preproduction, we devised a scheme where we
could integrate practical lighting, knowing that we’d be walking into the club
with the camera looking 360 degrees
from the get-go,” says Beebe. “Maher
built large, deco-type chandeliers that
were hung around the room, and we
used a lot of neon inside and on the
façade of the building. There were 30 or
so tables spread out around the room,
each with a Perspex top and a linen
tablecloth, and we underlit each of the
tables [with 40-watt globes in cleat
sockets] so they would glow.
“Because it wasn’t on a stage, Don
Reynolds and his crew had to devise
systems to rig our light sources to pillars
and existing structures in the room,” the
cinematographer continues. “That location presented a big challenge to everyone. Fortunately, we had a great team
and it was scheduled toward the end of
production, so we had some time to
figure things out.”
As the introduction of Slapsy
Maxie’s illustrates, the filmmakers
sought to give “a fluidity to the action
and to the drama,” says Beebe. “We
wanted to keep up the energy of the
camera and utilize camera movement to



American Cinematographer - February 2013

Table of Contents for the Digital Edition of American Cinematographer - February 2013

American Cinematographer - February 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
Production Slate: House of Cards • Caesar Must Die
The World’s Most Wanted Man
War on Crime
Crumbling Pillars
Vision and Verve
Postcards from Poland
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - American Cinematographer - February 2013
American Cinematographer - February 2013 - Cover2
American Cinematographer - February 2013 - 1
American Cinematographer - February 2013 - 2
American Cinematographer - February 2013 - Contents
American Cinematographer - February 2013 - 4
American Cinematographer - February 2013 - 5
American Cinematographer - February 2013 - 6
American Cinematographer - February 2013 - 7
American Cinematographer - February 2013 - Editor’s Note
American Cinematographer - February 2013 - 9
American Cinematographer - February 2013 - President’s Desk
American Cinematographer - February 2013 - 11
American Cinematographer - February 2013 - Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
American Cinematographer - February 2013 - 13
American Cinematographer - February 2013 - 14
American Cinematographer - February 2013 - 15
American Cinematographer - February 2013 - 16
American Cinematographer - February 2013 - 17
American Cinematographer - February 2013 - Production Slate: House of Cards • Caesar Must Die
American Cinematographer - February 2013 - 19
American Cinematographer - February 2013 - 20
American Cinematographer - February 2013 - 21
American Cinematographer - February 2013 - 22
American Cinematographer - February 2013 - 23
American Cinematographer - February 2013 - 24
American Cinematographer - February 2013 - 25
American Cinematographer - February 2013 - 26
American Cinematographer - February 2013 - 27
American Cinematographer - February 2013 - 28
American Cinematographer - February 2013 - 29
American Cinematographer - February 2013 - 30
American Cinematographer - February 2013 - 31
American Cinematographer - February 2013 - The World’s Most Wanted Man
American Cinematographer - February 2013 - 33
American Cinematographer - February 2013 - 34
American Cinematographer - February 2013 - 35
American Cinematographer - February 2013 - 36
American Cinematographer - February 2013 - 37
American Cinematographer - February 2013 - 38
American Cinematographer - February 2013 - 39
American Cinematographer - February 2013 - 40
American Cinematographer - February 2013 - 41
American Cinematographer - February 2013 - War on Crime
American Cinematographer - February 2013 - 43
American Cinematographer - February 2013 - 44
American Cinematographer - February 2013 - 45
American Cinematographer - February 2013 - 46
American Cinematographer - February 2013 - 47
American Cinematographer - February 2013 - 48
American Cinematographer - February 2013 - 49
American Cinematographer - February 2013 - 50
American Cinematographer - February 2013 - 51
American Cinematographer - February 2013 - 52
American Cinematographer - February 2013 - 53
American Cinematographer - February 2013 - Crumbling Pillars
American Cinematographer - February 2013 - 55
American Cinematographer - February 2013 - 56
American Cinematographer - February 2013 - 57
American Cinematographer - February 2013 - 58
American Cinematographer - February 2013 - 59
American Cinematographer - February 2013 - 60
American Cinematographer - February 2013 - 61
American Cinematographer - February 2013 - Vision and Verve
American Cinematographer - February 2013 - 63
American Cinematographer - February 2013 - 64
American Cinematographer - February 2013 - 65
American Cinematographer - February 2013 - 66
American Cinematographer - February 2013 - 67
American Cinematographer - February 2013 - 68
American Cinematographer - February 2013 - 69
American Cinematographer - February 2013 - 70
American Cinematographer - February 2013 - 71
American Cinematographer - February 2013 - Postcards from Poland
American Cinematographer - February 2013 - 73
American Cinematographer - February 2013 - 74
American Cinematographer - February 2013 - 75
American Cinematographer - February 2013 - New Products & Services
American Cinematographer - February 2013 - 77
American Cinematographer - February 2013 - 78
American Cinematographer - February 2013 - 79
American Cinematographer - February 2013 - 80
American Cinematographer - February 2013 - 81
American Cinematographer - February 2013 - International Marketplace
American Cinematographer - February 2013 - Classified Ads
American Cinematographer - February 2013 - Ad Index
American Cinematographer - February 2013 - 85
American Cinematographer - February 2013 - Clubhouse News
American Cinematographer - February 2013 - 87
American Cinematographer - February 2013 - ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - Cover3
American Cinematographer - February 2013 - Cover4
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