American Cinematographer - June 2010 - 18
Right: The filmmakers work on close shots for the climactic scene, in which two women take Dee to a pond to retrieve a body. Below: A shot from the final scene, which begins at dusk and lasts into the night.
Mo., who broke the ice with the local inhabitants. Michaels introduced the filmmakers to the Laysons, an extended family with several homes in one holler; the properties were all within a half-mile radius and became the production’s key locations. “We used it much like a set,” says Granik. “We could park our vehicles long-term and become very familiar with the terrain.” The Laysons’ daughter wound up playing Dee’s little sister, “and their dogs are in every frame,” adds Granik. “There were no less
18 June 2010
than 11 of them!” The filmmakers planned to shoot in winter, true to the novel’s setting. “Winter makes any journey more arduous,” Granik observes. “When it’s cold, the idea of not having enough food becomes direr, the state of the woodpile becomes direr, and the stakes are higher for survival. There’s a kind of tenacity that winter calls upon.” Tenacity was also required of the producers — two months before principal photography was to begin, in 2008, their
American Cinematographer
financier backed out. The team managed to refinance, but had to wait until the following winter to shoot. “We were 50 percent poorer but 100 percent freer,” says Granik. The filmmakers’ visual anthropology deepened during the intervening year. “We took thousands of photographs,” says McDonough. Selections went into a “look book” alongside stills from Barbara Kopple’s Harlan County USA, Justin Hunt’s American Meth, Jane Campion’s The Piano, and Bruno Dumont’s La vie de Jésus. McDonough studied The Piano and The Duellists for their use of natural light; Dumont for his desaturated, lyrical landscapes; and the early films of Jean-Pierre and Luc Dardenne for their handheld camera movement. “Debra loves handheld, but she doesn’t like shaky-cam,” he notes. Granik describes her goal as “a handheld camera in service to a gentle swiftness, without gratuitous movement.” Framing at 1.85:1, McDonough shot Winter’s Bone with a Red One, using Arri Master Primes and 24-290mm and 1540mm Angenieux Optimo zoom lenses. “We had great lenses, and that was important,” says McDonough. “The Red’s an inexpensive camera, but if you’re going to do it properly, you’ve got to get $200,000 worth of accessories. We were very lucky to
American Cinematographer - June 2010
Table of Contents for the Digital Edition of American Cinematographer - June 2010
The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
Features
Slings and Arrows (Robin Hood)
Desert Storm (Prince of Persia)
Very French Revenge (Micmacs)
Painting Towns White (The White Stripes)
Departments
Editor’s Note
President’s Desk
Short Takes: Land and Bread
Production Slate: Winter’s Bone • Harry Brown
Post Focus: Enhancing Frozen
Tricks of the Trade: Using Red’s False Color
New Products & Services
International Marketplace
Classified Ads/Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover1
American Cinematographer - June 2010 - Cover2
American Cinematographer - June 2010 - The International Journal of Motion Imaging - June 2010 Vol. 91 No. 6
American Cinematographer - June 2010 - 2
American Cinematographer - June 2010 - 3
American Cinematographer - June 2010 - 4
American Cinematographer - June 2010 - 5
American Cinematographer - June 2010 - 6
American Cinematographer - June 2010 - 7
American Cinematographer - June 2010 - Editor’s Note
American Cinematographer - June 2010 - 9
American Cinematographer - June 2010 - President’s Desk
American Cinematographer - June 2010 - 11
American Cinematographer - June 2010 - Short Takes: Land and Bread
American Cinematographer - June 2010 - 13
American Cinematographer - June 2010 - 14
American Cinematographer - June 2010 - 15
American Cinematographer - June 2010 - Production Slate: Winter’s Bone • Harry Brown
American Cinematographer - June 2010 - 17
American Cinematographer - June 2010 - 18
American Cinematographer - June 2010 - 19
American Cinematographer - June 2010 - 20
American Cinematographer - June 2010 - 21
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American Cinematographer - June 2010 - 29
American Cinematographer - June 2010 - Slings and Arrows (Robin Hood)
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American Cinematographer - June 2010 - 40
American Cinematographer - June 2010 - 41
American Cinematographer - June 2010 - Desert Storm (Prince of Persia)
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American Cinematographer - June 2010 - 50
American Cinematographer - June 2010 - 51
American Cinematographer - June 2010 - Very French Revenge (Micmacs)
American Cinematographer - June 2010 - 53
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American Cinematographer - June 2010 - Painting Towns White (The White Stripes)
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American Cinematographer - June 2010 - 67
American Cinematographer - June 2010 - 68
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American Cinematographer - June 2010 - Post Focus: Enhancing Frozen
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American Cinematographer - June 2010 - 77
American Cinematographer - June 2010 - Tricks of the Trade: Using Red’s False Color
American Cinematographer - June 2010 - 79
American Cinematographer - June 2010 - New Products & Services
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American Cinematographer - June 2010 - International Marketplace
American Cinematographer - June 2010 - 93
American Cinematographer - June 2010 - Classified Ads/Ad Index
American Cinematographer - June 2010 - 95
American Cinematographer - June 2010 - ASC Membership Roster
American Cinematographer - June 2010 - 97
American Cinematographer - June 2010 - Clubhouse News
American Cinematographer - June 2010 - 99
American Cinematographer - June 2010 - ASC Close-Up: John Schwartzman
American Cinematographer - June 2010 - Cover3
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