American Cinematographer - May 2014 - 57
"I wanted the viewer early on to
get used to the fact that he's not going to
be guided to look at one thing, then
another," explains Pawlikowski. "There
are a lot of wide shots, so the eye has to
get used to that. You have to really
watch the film. Because the photography is strong, each image is really felt.
Some viewers think it's just a lot of
pretty shots, but there's a lot of emotion
in each composition. My ideal viewer
realizes the images are as emotional as
the performances, and as charged."
Reducing the number of shots
required more work on each shot and
more takes. "There is often something
happening in the background or foreground, or in the sky, and when you put
"I wanted to find a
proper contrast
between the
characters and their
environments."
Top and middle:
Photoflex
Octodomes light
a close-up of Ida
in bed. Bottom:
The crew
positions a
diffusion frame
to soften the
light for another
bedtime scene.
everything in one shot, it all has to work
together - you can't cut your way out of
trouble," says Pawlikowski. "So, I often
shaped the scene as we went along."
Ida is marked by compositions
that feature a lot of "sky room" - tall,
empty spaces above the characters. Zal
notes, "We eliminated color and camera
moves, so composition and lighting was
all we had left! We wanted to build
essential frames that would have strong
emotional impact and speak about the
space beyond the frame. In the scene
where Ida is waiting in the bus station,
for example, we feel a kind of isolation,
an emptiness, that she is somehow lost
in the frame. This tension in the frame
speaks about the souls of our characters
and their world."
Pawlikowski adds, "When you
analyze the framing intellectually, you
www.theasc.com
May 2014
57
http://www.theasc.com
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
American Cinematographer - May 2014 - 8
American Cinematographer - May 2014 - 9
American Cinematographer - May 2014 - 10
American Cinematographer - May 2014 - 11
American Cinematographer - May 2014 - 12
American Cinematographer - May 2014 - 13
American Cinematographer - May 2014 - 14
American Cinematographer - May 2014 - 15
American Cinematographer - May 2014 - 16
American Cinematographer - May 2014 - 17
American Cinematographer - May 2014 - 18
American Cinematographer - May 2014 - 19
American Cinematographer - May 2014 - 20
American Cinematographer - May 2014 - 21
American Cinematographer - May 2014 - 22
American Cinematographer - May 2014 - 23
American Cinematographer - May 2014 - 24
American Cinematographer - May 2014 - 25
American Cinematographer - May 2014 - 26
American Cinematographer - May 2014 - 27
American Cinematographer - May 2014 - 28
American Cinematographer - May 2014 - 29
American Cinematographer - May 2014 - 30
American Cinematographer - May 2014 - 31
American Cinematographer - May 2014 - 32
American Cinematographer - May 2014 - 33
American Cinematographer - May 2014 - 34
American Cinematographer - May 2014 - 35
American Cinematographer - May 2014 - 36
American Cinematographer - May 2014 - 37
American Cinematographer - May 2014 - 38
American Cinematographer - May 2014 - 39
American Cinematographer - May 2014 - 40
American Cinematographer - May 2014 - 41
American Cinematographer - May 2014 - 42
American Cinematographer - May 2014 - 43
American Cinematographer - May 2014 - 44
American Cinematographer - May 2014 - 45
American Cinematographer - May 2014 - 46
American Cinematographer - May 2014 - 47
American Cinematographer - May 2014 - 48
American Cinematographer - May 2014 - 49
American Cinematographer - May 2014 - 50
American Cinematographer - May 2014 - 51
American Cinematographer - May 2014 - 52
American Cinematographer - May 2014 - 53
American Cinematographer - May 2014 - 54
American Cinematographer - May 2014 - 55
American Cinematographer - May 2014 - 56
American Cinematographer - May 2014 - 57
American Cinematographer - May 2014 - 58
American Cinematographer - May 2014 - 59
American Cinematographer - May 2014 - 60
American Cinematographer - May 2014 - 61
American Cinematographer - May 2014 - 62
American Cinematographer - May 2014 - 63
American Cinematographer - May 2014 - 64
American Cinematographer - May 2014 - 65
American Cinematographer - May 2014 - 66
American Cinematographer - May 2014 - 67
American Cinematographer - May 2014 - 68
American Cinematographer - May 2014 - 69
American Cinematographer - May 2014 - 70
American Cinematographer - May 2014 - 71
American Cinematographer - May 2014 - 72
American Cinematographer - May 2014 - 73
American Cinematographer - May 2014 - 74
American Cinematographer - May 2014 - 75
American Cinematographer - May 2014 - 76
American Cinematographer - May 2014 - 77
American Cinematographer - May 2014 - 78
American Cinematographer - May 2014 - 79
American Cinematographer - May 2014 - 80
American Cinematographer - May 2014 - 81
American Cinematographer - May 2014 - 82
American Cinematographer - May 2014 - 83
American Cinematographer - May 2014 - 84
American Cinematographer - May 2014 - 85
American Cinematographer - May 2014 - 86
American Cinematographer - May 2014 - 87
American Cinematographer - May 2014 - 88
American Cinematographer - May 2014 - 89
American Cinematographer - May 2014 - 90
American Cinematographer - May 2014 - 91
American Cinematographer - May 2014 - 92
American Cinematographer - May 2014 - Cover3
American Cinematographer - May 2014 - Cover4
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