American Cinematographer - April 2015 - 70

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Star-Crossed Love
he hires renowned landscape architect
André Le Notre to design a magnificent, expansive formal garden for the
new royal residence. It is here that the
movie transitions into the realm of
imagination: Le Notre (Matthias
Schoenaerts) chooses a female gardener
named Sabine de Barra (Kate Winslet)
to design and build a unique outdoor
ballroom and fountain, the Rockwork
Grove (which does, in fact, exist in the
Versailles gardens). The traditionalist
Le Notre and the spirited Sabine soon
find their professional relationship
evolving into something more.
Although the story takes place in
17th-century France, the film was
photographed in the United Kingdom,
most of it on historical locations,
including Hampton Court - one of
Henry VIII's many castles - and
Blenheim Palace, the birthplace and
ancestral home of Winston Churchill.
The project was shot by Ellen
Kuras, ASC, whose credits include 4
Little Girls (AC Jan. '98), Summer of
Sam (AC June '99), Eternal Sunshine of
the Spotless Mind (AC April '04), Swoon,
Neil Young: Heart of Gold (AC March
'06), and The Betrayal (AC April '08),
which she both directed and shot. AC
spoke with Kuras about the pleasures
and challenges of working in such
ornate surroundings.
American Cinematographer:
How did the decision to shoot on film
come about?
Ellen Kuras, ASC: Director
Alan Rickman, who also plays Louis
XIV, and I were both committed to
shooting film. Because the film takes
place in the 17th century, we wanted
the warmth, depth and roundness that
film emulsion offers. We shot 3-perf
Super 35mm for a 2.40:1 release, using
three Arricam Lites, Cooke S4 primes
and three Angenieux Optimo zooms: a
24-290mm T2.8, a 28-76mm T2.6,
and a 15-40mm T2.6 [all from Arri
Media in London]. We used three
Kodak stocks: Vision3 500T 5219,
Vision3 200T 5213, and Vision2 250D
5205.

Kuras and
crew ready the
cameras for a
location shoot.

70

April 2015

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - April 2015

Contents
American Cinematographer - April 2015 - Intro
American Cinematographer - April 2015 - Cover1
American Cinematographer - April 2015 - Cover2
American Cinematographer - April 2015 - 1
American Cinematographer - April 2015 - 2
American Cinematographer - April 2015 - Contents
American Cinematographer - April 2015 - 4
American Cinematographer - April 2015 - 5
American Cinematographer - April 2015 - 6
American Cinematographer - April 2015 - 7
American Cinematographer - April 2015 - 8
American Cinematographer - April 2015 - 9
American Cinematographer - April 2015 - 10
American Cinematographer - April 2015 - 11
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American Cinematographer - April 2015 - 20
American Cinematographer - April 2015 - 21
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American Cinematographer - April 2015 - 64
American Cinematographer - April 2015 - I1
American Cinematographer - April 2015 - I2
American Cinematographer - April 2015 - I3
American Cinematographer - April 2015 - I4
American Cinematographer - April 2015 - I5
American Cinematographer - April 2015 - I6
American Cinematographer - April 2015 - I7
American Cinematographer - April 2015 - I8
American Cinematographer - April 2015 - 65
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American Cinematographer - April 2015 - Cover3
American Cinematographer - April 2015 - Cover4
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