American Cinematographer - April 2018 - 52

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Animal Kingdom

Top: The aftermath of Kobayashi's rally, which the filmmakers styled after a similar sequence in
Citizen Kane. Above: The rally was staged in the Municipal Dome set. "The huge graphic of the mayor's
head was very useful as an ambient fill source," says Oliver. "That provided back-fill, and when we
turned 'round to film the audience, that motivated the light coming from the stage."

some things we did on Fox that just
didn't work this time around. For example, Wes was fond of forcing the size of
the characters down as small as possible
- [on Fox] we'd set up a shot, and he
would pull the camera farther and
farther away and shrink the puppets
down till we ended up with these very
tiny sets and tiny characters. Sometimes
they were just bits of scrap, little
oblongs and triangles glued together
52

April 2018

and painted the right color, that were
just skittering around in the background.
When we started Isle of Dogs, he
was very keen on pursuing this. We had
many scales: small, medium and large,
and then tiny, super tiny and super tiny
tiny. He'd say, 'This next shot is going to
be in our super tiny tiny scale.' But once
we started to play with that, it was obvious it wasn't working within the visual
American Cinematographer

aesthetic of this movie. It's a very different kind of landscape, and the charm of
having little characters running around
in woods and fields wasn't there. We
also found that although our maincharacter dogs worked beautifully at full
size, they started to look rather puppyish at half size. There's a lot of character
in the key dogs. So, although we had a
lot of sizes made, we shot most of the
movie in just one scale because it fit
together much better that way.
Also, we used a huge amount of
colored light in Fox, but on this film
Wes wanted a lighting palette that was
very restrictive - sort of washed out,
almost monochrome. He wanted to
instead use set color to create what he
wanted color-wise. So, in the human
world, the sets are very brightly colored,
but the light is always white and nearly
always quite flat. The days are all heavily overcast with almost no shadows.
We used almost no key light for the
exteriors; if we were keying, we were
keying just slightly stronger off the fill
board on one side than we were on the
other. Wes recently invited me to look
at the work he has done in the DI -
he's been grading in New York via a
remote linkup to Molinare [in London]
- and he has added a lot of saturation
to combat the overall monochrome feel.
How did you balance the flat
lighting scheme with the need to
model the puppets?



Table of Contents for the Digital Edition of American Cinematographer - April 2018

Contents
American Cinematographer - April 2018 - Cover1
American Cinematographer - April 2018 - Cover2
American Cinematographer - April 2018 - 1
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American Cinematographer - April 2018 - Contents
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