American Cinematographer - February 2013 - 55
Unit photography by Nick Briggs, courtesy of HBO.
Opposite page (from
left): Christopher
Tietjens (Benedict
Cumberbatch),
Valentine Wannop
(Adelaide Clemens)
and Sylvia Tietjens
(Rebecca Hall) form
an unhappy
romantic triangle in
Parade’s End.
This page: At
MacMaster’s parties
for artists and
writers, Sylvia turns
on the charm (top)
and flirts with other
men (bottom right).
Bottom left:
Christopher is
smitten with
Valentine, a young
suffragette.
writer was to draw on the modernist
movement that was going on in the
visual arts,” she notes. “He was very
close to painters like Picasso, Juan Gris
and the Cubists, and the Vorticist
movement.”
Early in prep, White and Eley
visited an exhibition of Vorticism at the
Tate Modern. “It was quite inspiring,”
says Eley. “Parade’s End is thought of as
one of the first modernist novels, and
Vorticism hit the world around 1914,
slap-bang in the middle of our story.
In particular, we were struck by the
vortographs, which are photographs
taken through a fractured mirror, and
we decided to borrow that technique.
We wanted to create it in-camera, so
we experimented and decided to use
three lengths of mirror, each about 6by-4 inches, taped together to create a
triangular tube that we simply placed
in front of the lens and adjusted by eye
through the viewfinder.”
www.theasc.com
The mirror rig split the image
into triangular shards and was put to
use for flashbacks, memories and time
transitions. White explains, “I didn’t
want to get too tricksy in my overall
visual approach, but this device added
another layer without any kind of
confusion. The use of three mirrors
also seemed so appropriate for this
story of a love triangle.”
Parade’s End was shot with Arri
Alexa cameras and Cooke S4 lenses,
February 2013
55
http://www.theasc.com
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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