American Cinematographer - April 2011 - 16
Production Slate
The English mist sets in as Jane (Mia Wasikowska) runs an errand in a scene from Jane Eyre, shot by Adriano Goldman, ABC.
I
A Jane Eyre for Today By Rachael K. Bosley
Adapting Charlotte Brontë’s literary classic Jane Eyre might seem an unlikely choice for the director-cinematographer team behind Sin Nombre, the illegal-immigrant drama that won a cinematography prize at the 2009 Sundance Film Festival (AC April ’09), but for the cinematographer, Adriano Goldman, ABC, that was part of the appeal. More significant, however, was the chance to reunite with director Cary Joji Fukunaga. “Since we shot Sin Nombre, Cary and I have become very good friends, and I like to think that this is a sort of partnership, something we can develop,” says Goldman. “I like him, I trust him, and I really believe he’s an artist.” AC recently spoke to Goldman by phone about his work on Jane Eyre. What follows are excerpts from the conversation. American Cinematographer : Jane Eyre is required reading in many American high schools. Is it treated that way in Brazil? Were you familiar with the novel? Adriano Goldman, ABC: No, I wasn’t. I was aware that it’s considered a classic, but it’s not at all part of my culture. That was part of the challenge. Cary and I read a few chapters together, and we also watched some of the well-known adaptations, like the Franco Zeffirelli
16 April 2011
version [1996], the Robert Stevenson one with Orson Welles [1943] and the BBC miniseries [2006, directed by Susanna White], mostly to understand what we didn’t want to do. And what was that? Goldman: Well, we wanted to make a period film with a contemporary look or approach, something that would feel fresh. I don’t want to say ‘modern’ because that word is a little dangerous, but Jane Eyre [played by Mia Wasikowska] is very ahead of her time. She’s a modern girl for that moment in terms of the way she behaves, the way she treats men and the way she sees her future. Cary also wanted to do a darker version of the story than previous filmmakers had done. He wanted to emphasize the mysteries of Rochester’s life, the secret in the attic, and the strange loneliness Jane experiences in Thornfield. The [final] cut has changed the movie a lot, as always happens, but I think the Gothic aspects of the story were something Cary really wanted to explore. How did the desire for a contemporary feel translate into some of your choices? Goldman: We wanted lighting that would look realistic. The houses of that time were really dark, even during the day, because it was very expensive to have fires lit all day and all night. So for day scenes in Thornfield, we wanted it to feel like all the light was coming
American Cinematographer
Jane Eyre photos by Laurie Sparham, courtesy of Focus Features.
American Cinematographer - April 2011
Table of Contents for the Digital Edition of American Cinematographer - April 2011
American Cinematographer - April 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “Faeries”
Production Slate: Jane Eyre • Battle: Los Angeles
Wicked World
A Woman on the Verge
Optical Filtration and 3-D
Sundance 2011: Spirited Images
Post Focus: Red Riding Hood
Tricks of the Trade: Unfettering a Digital Shoot
Filmmakers’ Forum: The Image Interchange Framework
New Products & Services
International Marketplace
Classified Ads/Ad Index
Clubhouse News
ASC Close-Up: Dennis Muren
American Cinematographer - April 2011 - American Cinematographer - April 2011
American Cinematographer - April 2011 - Cover2
American Cinematographer - April 2011 - 1
American Cinematographer - April 2011 - 2
American Cinematographer - April 2011 - Contents
American Cinematographer - April 2011 - 4
American Cinematographer - April 2011 - 5
American Cinematographer - April 2011 - 6
American Cinematographer - April 2011 - 7
American Cinematographer - April 2011 - Editor’s Note
American Cinematographer - April 2011 - 9
American Cinematographer - April 2011 - President’s Desk
American Cinematographer - April 2011 - 11
American Cinematographer - April 2011 - Short Takes: “Faeries”
American Cinematographer - April 2011 - 13
American Cinematographer - April 2011 - 14
American Cinematographer - April 2011 - 15
American Cinematographer - April 2011 - Production Slate: Jane Eyre • Battle: Los Angeles
American Cinematographer - April 2011 - 17
American Cinematographer - April 2011 - 18
American Cinematographer - April 2011 - 19
American Cinematographer - April 2011 - 20
American Cinematographer - April 2011 - 21
American Cinematographer - April 2011 - 22
American Cinematographer - April 2011 - 23
American Cinematographer - April 2011 - 24
American Cinematographer - April 2011 - 25
American Cinematographer - April 2011 - Wicked World
American Cinematographer - April 2011 - 27
American Cinematographer - April 2011 - 28
American Cinematographer - April 2011 - 29
American Cinematographer - April 2011 - 30
American Cinematographer - April 2011 - 30a
American Cinematographer - April 2011 - 30b
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American Cinematographer - April 2011 - 37
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American Cinematographer - April 2011 - 39
American Cinematographer - April 2011 - 40
American Cinematographer - April 2011 - 41
American Cinematographer - April 2011 - A Woman on the Verge
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American Cinematographer - April 2011 - 48
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American Cinematographer - April 2011 - 51
American Cinematographer - April 2011 - Optical Filtration and 3-D
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American Cinematographer - April 2011 - 61
American Cinematographer - April 2011 - Sundance 2011: Spirited Images
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American Cinematographer - April 2011 - 77
American Cinematographer - April 2011 - Post Focus: Red Riding Hood
American Cinematographer - April 2011 - 79
American Cinematographer - April 2011 - 80
American Cinematographer - April 2011 - 81
American Cinematographer - April 2011 - Tricks of the Trade: Unfettering a Digital Shoot
American Cinematographer - April 2011 - 83
American Cinematographer - April 2011 - 84
American Cinematographer - April 2011 - 85
American Cinematographer - April 2011 - Filmmakers’ Forum: The Image Interchange Framework
American Cinematographer - April 2011 - 87
American Cinematographer - April 2011 - 88
American Cinematographer - April 2011 - 89
American Cinematographer - April 2011 - New Products & Services
American Cinematographer - April 2011 - 91
American Cinematographer - April 2011 - 92
American Cinematographer - April 2011 - 93
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American Cinematographer - April 2011 - 95
American Cinematographer - April 2011 - 96
American Cinematographer - April 2011 - 97
American Cinematographer - April 2011 - International Marketplace
American Cinematographer - April 2011 - 99
American Cinematographer - April 2011 - Classified Ads/Ad Index
American Cinematographer - April 2011 - 101
American Cinematographer - April 2011 - Clubhouse News
American Cinematographer - April 2011 - 103
American Cinematographer - April 2011 - ASC Close-Up: Dennis Muren
American Cinematographer - April 2011 - Cover3
American Cinematographer - April 2011 - Cover4
American Cinematographer - April 2011 - Cover5
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