American Cinematographer - May 2014 - 24

To help capture the play of light reflected on the car's windshield, Zambarloukos frequently employed
two-way mirrors rigged at varying angles in front of the cameras. With the effect, Zambarloukos notes,
"I was trying to say, 'I want to look at Tom Hardy, but I also want to see what he sees.'"

get better reflections from streetlights and
cars. That could be [anywhere between] 15
degrees or 65 degrees, and it only worked
if [the frame line was] within the windscreen or one of the side windows of the
car. If you saw off the car, it didn't work, so
24

May 2014

we only used them when we felt it was
right. We had two of them, and my key
grip, Malcolm Huse, pretty much jerryrigged them with Cardellini Clamps. From a
story point, I was trying to say, 'I want to
look at Tom Hardy, but I also want to see
American Cinematographer

what he sees.' By amplifying the reflections,
you do that. If you start analyzing it, you see
that the reflections are going in the wrong
direction, but that was a risk we were willing to take. We were quite abstract and
unapologetic about it.
How did you handle the two
sides of the phone conversations?
Zambarloukos: The mechanics of it
ended up being that we would shoot for
these four nights with Tom while our other
actors were in a couple of rooms in a hotel.
They would call in, and their [side of the]
conversations would be recorded live in the
hotel. What you hear is the actual voice
performances of Tom and the other actors
interacting live.
Where were you while filming?
Zambarloukos: We were allowed
only 12 people on the low-loader, so my
operator, Simon Baker, was on one camera,
with Shaun Cobley on focus; Ashley Bond,
my B-camera focus puller, manned and
focused the second camera; and the third
camera was locked off. I stayed on the truck
[that pulled the low-loader] with my gaffer,
Julian White, and we played with a small
dimmer [a GrandMA2 Command Wing
and PC laptop that sent a signal via a
LumenRadio wireless DMX transmitter/
receiver system] to control the LED lights we
had rigged to the car to augment what we
saw happening on the street.
What LEDs did you rig to the car?
Zambarloukos: We rigged four
Martin Stagebar [RGBAW] fixtures outside



American Cinematographer - May 2014

Table of Contents for the Digital Edition of American Cinematographer - May 2014

Contents
American Cinematographer - May 2014 - Cover1
American Cinematographer - May 2014 - Cover2
American Cinematographer - May 2014 - 1
American Cinematographer - May 2014 - 2
American Cinematographer - May 2014 - Contents
American Cinematographer - May 2014 - 4
American Cinematographer - May 2014 - 5
American Cinematographer - May 2014 - 6
American Cinematographer - May 2014 - 7
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