American Cinematographer - May 2017 - 58

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Survival Story

Right: Michael
and Ana
reunite after a
long time
apart. Below:
Aguirresarobe
and crew ready
a village set.

you're saying something important now.
It will be interesting to see how many [of
those] shots get in the movie." The
drone-mounted Epic Dragon camera
captured at 5.5K resolution.
Tonight's free-of-aerials set, he
adds, exploits half of what was once
space for more than 400 horses. "The
stable allows us that wonderful colonnade look you wouldn't get otherwise,"
he enthuses. "That's thanks to our
production
designer,
Benjamín
Fernández, who worked on Lawrence of
Arabia and Doctor Zhivago; he and the
set decorator, Pilar Revuelta, have done
a great job putting that together."
Surrounding the stable are sprawling
barracks that once housed 6,000 troops,
58

May 2017

with a huge reservoir of drinking water
beneath. "Napoleon destroyed the other
stable," Winter remarks.
Fernández is both modest and
quick to share a recollection of how he
came to be something of an iconic
figure, in a career stretching from his
early days with David Lean through
multiple jobs with Ridley Scott. For
Gladiator (2000), one of his creations
was the dusty provincial arena where the
fighters first trained, and he was responsible for similarly large-scale settings for
Exodus: Gods and Kings. He joined the
world of cinema early in life. "I was 17,
studying architecture," he says, "and my
father was a carpenter on different sets,
doing flats. When Lawrence came to
American Cinematographer

Spain, I got some work on that film ..."
The rest, his shrug would denote, is
history.
He extends an invitation to pay a
followup set visit the next morning for a
crucial scene: Myers' jail-cell conversation with his and Boghosian's rebellious
Turkish friend, Emre (Marwan
Kenzari) - a sequence that depicts
Myers' refusal to compromise his stance
even at the risk of his own life. The
sequence will be the onscreen lead-in to
a scene shot the previous day depicting
Emre's execution, following his defiance
of the generals and politicians who ultimately led what the Turkish government
has long refused to call a genocide.
The whistle sounds and tonight's
rampage plays out convincingly. Despite
the bedlam that fills the crowded colonnade, the action won't play onscreen as
the noisily kinetic riot it feels like in the
moment. In fact, George's motive for
overcranking is to provide some slo-mo
footage that intercuts, with dark irony,
with the simultaneously unfolding scene
of a classical voice recital elsewhere in
the city in an ornate Armenian church.
Moments after the sequence is
completed, co-producer Edward
McGurn, another industry veteran, is en
route to the trailer where Medavoy is
installed. Having just witnessed the
powerful scene being shot, he wants to
share his thoughts about the cinematographer. "He has done an amazing job -
a painter of light," McGurn says. "In the
passion he has for his work, he really is
an artist. We were so enthusiastic about
working with him, especially having
seen his work on The Others - all that
haunting imagery - and similarly on
The Road and The Sea Inside. To make
those enclosed spaces so interesting, and
to do what he can do with exteriors, and
marry those two is impressive. Then
there's his entirely different vocabulary
with Woody."
In the near distance, the production army - with Aguirresarobe in the
lead - is on the move to take a last look
at the terrain where tomorrow's action
will unfold. "The crew loves him,"
McGurn continues, "because he's so



Table of Contents for the Digital Edition of American Cinematographer - May 2017

Contents
American Cinematographer - May 2017 - Cover1
American Cinematographer - May 2017 - Cover2
American Cinematographer - May 2017 - 1
American Cinematographer - May 2017 - 2
American Cinematographer - May 2017 - Contents
American Cinematographer - May 2017 - 4
American Cinematographer - May 2017 - 5
American Cinematographer - May 2017 - 6
American Cinematographer - May 2017 - 7
American Cinematographer - May 2017 - 8
American Cinematographer - May 2017 - 9
American Cinematographer - May 2017 - 10
American Cinematographer - May 2017 - 11
American Cinematographer - May 2017 - 12
American Cinematographer - May 2017 - 13
American Cinematographer - May 2017 - 14
American Cinematographer - May 2017 - 15
American Cinematographer - May 2017 - 16
American Cinematographer - May 2017 - 17
American Cinematographer - May 2017 - 18
American Cinematographer - May 2017 - 19
American Cinematographer - May 2017 - 20
American Cinematographer - May 2017 - 21
American Cinematographer - May 2017 - 22
American Cinematographer - May 2017 - 23
American Cinematographer - May 2017 - 24
American Cinematographer - May 2017 - 25
American Cinematographer - May 2017 - 26
American Cinematographer - May 2017 - 27
American Cinematographer - May 2017 - 28
American Cinematographer - May 2017 - 29
American Cinematographer - May 2017 - 29A
American Cinematographer - May 2017 - 29B
American Cinematographer - May 2017 - 29C
American Cinematographer - May 2017 - 29D
American Cinematographer - May 2017 - 30
American Cinematographer - May 2017 - 31
American Cinematographer - May 2017 - 32
American Cinematographer - May 2017 - 33
American Cinematographer - May 2017 - 34
American Cinematographer - May 2017 - 35
American Cinematographer - May 2017 - 36
American Cinematographer - May 2017 - 37
American Cinematographer - May 2017 - 38
American Cinematographer - May 2017 - 39
American Cinematographer - May 2017 - 40
American Cinematographer - May 2017 - 41
American Cinematographer - May 2017 - 42
American Cinematographer - May 2017 - 43
American Cinematographer - May 2017 - 44
American Cinematographer - May 2017 - 45
American Cinematographer - May 2017 - 46
American Cinematographer - May 2017 - 47
American Cinematographer - May 2017 - 48
American Cinematographer - May 2017 - 49
American Cinematographer - May 2017 - 50
American Cinematographer - May 2017 - 51
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American Cinematographer - May 2017 - 53
American Cinematographer - May 2017 - 54
American Cinematographer - May 2017 - 55
American Cinematographer - May 2017 - 56
American Cinematographer - May 2017 - 57
American Cinematographer - May 2017 - 58
American Cinematographer - May 2017 - 59
American Cinematographer - May 2017 - 60
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American Cinematographer - May 2017 - 62
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American Cinematographer - May 2017 - Cover3
American Cinematographer - May 2017 - Cover4
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