American Cinematographer - May 2018 - 41

The production
staged the car
crash in a large
exterior tank at
Baja Studios in
Mexico.

documentary work allows for an organic
approach to scenes," Curran adds.
"Since this is my third film with
Maryse, we've developed a kind of
creative shorthand. There's always a
lighting plan and a shot list, but [on set]
we generally follow the actors and make
it up as we go."
Much of the movie's tension is
generated by the urgency of Kennedy's
situation and his frustrating delays in
reporting the accident. Somehow he
escapes the crash unharmed, but then,
instead of immediately alerting the
authorities, he first walks back to the
cabin and charges Gargan and
Markham with trying to rescue
Kopechne; when that fails, he tasks
them with damage control before finally
calling his father for advice.
Alberti
photographed
Chappaquiddick with Arri Alexa XT
Plus and Alexa Mini cameras, capturing
3.2K ArriRaw to 512GB Codex XR
Capture Drives and 256GB CFast
cards, respectively. A television interview with Kennedy was filmed with an
Arriflex 16S on Kodak Vision3 500T

7219 color negative. The production's
lens package, which included a set of
Panavision G Series anamorphic
primes, was rented through Panavision
New York. (See sidebar, page 42.)
Chappaquiddick's visuals are
marked by a subtle formality. Unlike
www.ascmag.com

Kennedy, the camera seems to move
with careful consideration. Scenes
unfold in a progression of slow-moving
shots that neither push nor pull their
subjects. "It was born from necessity,"
says Curran. "We had a 45-day shoot
crammed into 32 days. Instead of
May 2018

41



http://www.ascmag.com

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

Contents
American Cinematographer - May 2018 - Cover1
American Cinematographer - May 2018 - Cover2
American Cinematographer - May 2018 - 1
American Cinematographer - May 2018 - 2
American Cinematographer - May 2018 - Contents
American Cinematographer - May 2018 - 4
American Cinematographer - May 2018 - 5
American Cinematographer - May 2018 - 6
American Cinematographer - May 2018 - 7
American Cinematographer - May 2018 - 8
American Cinematographer - May 2018 - 9
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American Cinematographer - May 2018 - 20
American Cinematographer - May 2018 - 21
American Cinematographer - May 2018 - 22
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American Cinematographer - May 2018 - 27
American Cinematographer - May 2018 - 28
American Cinematographer - May 2018 - 29
American Cinematographer - May 2018 - 30
American Cinematographer - May 2018 - 31
American Cinematographer - May 2018 - 32
American Cinematographer - May 2018 - 33
American Cinematographer - May 2018 - 34
American Cinematographer - May 2018 - 35
American Cinematographer - May 2018 - 36
American Cinematographer - May 2018 - 37
American Cinematographer - May 2018 - 38
American Cinematographer - May 2018 - 39
American Cinematographer - May 2018 - 40
American Cinematographer - May 2018 - 41
American Cinematographer - May 2018 - 42
American Cinematographer - May 2018 - 43
American Cinematographer - May 2018 - 44
American Cinematographer - May 2018 - 45
American Cinematographer - May 2018 - 46
American Cinematographer - May 2018 - 47
American Cinematographer - May 2018 - 48
American Cinematographer - May 2018 - 49
American Cinematographer - May 2018 - 50
American Cinematographer - May 2018 - 51
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American Cinematographer - May 2018 - 53
American Cinematographer - May 2018 - 54
American Cinematographer - May 2018 - 55
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American Cinematographer - May 2018 - 84
American Cinematographer - May 2018 - 85
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American Cinematographer - May 2018 - Cover3
American Cinematographer - May 2018 - Cover4
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