American Cinematographer - July 2012 - 50
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High Anxiety
Top: The grim figure of Death hovers over Chon’s shoulder. Bottom: The partners make a macabre impression as they fight back. Mindel notes, “The Día de los Muertos thread that runs through the film was something that I developed with production designer Tomas Voth. He’d brought in some art examples, and they reminded me of my travels through South America. You see it in the streets: candles burning at crossroads with offerings of flowers. I was very interested in bringing those little things into the film.”
Carr-Forster. “They left lens choices and camera moves up to us. Oliver would have to approve everything, but he was primarily focused on the actors. “It was like going back to the old English system, when the camera operator would set up the shot and the cinematographer would light it,” Carr50 July 2012
Forster continues. “We tended to move very quickly. This made the focus puller’s job extremely demanding, and Serge did a stellar job.” Although the shoot often felt like a large-scale guerrilla production, the crew notes that shots were executed with almost tactical precision. “It was a
American Cinematographer
hectic shoot, but Oliver knew exactly what shots he needed, and once we had them we’d move on to the next scene,” says Nofield. Carr-Forster recalls a night on location in a sketchy neighborhood in East L.A.: “We didn’t know what Oliver had planned. We did a company move from a rooftop downtown to a very dark street in East L.A. We arrived at a house and found out that Chon was going to drive up to the property, knock on the front door, demand repayment of some money, and then break the door down and go inside.” The scene, which was shot handheld, was quickly rehearsed. “When the thug refuses to let Chon in, Chon breaks down the door and pushes him aside,” recalls Carr-Foster. “The thug, not a stunt man, went flying across the room, and by take three he had four broken ribs! It’s weird to be there with a camera in the middle of chaos, not knowing what will happen next.” Nofield kept action in focus by laying marks whenever possible. “Whether I used them or not is another
American Cinematographer - July 2012
Table of Contents for the Digital Edition of American Cinematographer - July 2012
American Cinematographer - July 2012
Contents
Editor’s Note
Short Takes: Keane’s “Silenced by the Night”
Production Slate: Trishna • Two and a Half Men
Ancient Aliens
High Anxiety
Hair-Metal Heroes
Shooting J.R.
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - American Cinematographer - July 2012
American Cinematographer - July 2012 - Cover2
American Cinematographer - July 2012 - 1
American Cinematographer - July 2012 - 2
American Cinematographer - July 2012 - Contents
American Cinematographer - July 2012 - 4
American Cinematographer - July 2012 - 5
American Cinematographer - July 2012 - 6
American Cinematographer - July 2012 - 7
American Cinematographer - July 2012 - Editor’s Note
American Cinematographer - July 2012 - 9
American Cinematographer - July 2012 - Short Takes: Keane’s “Silenced by the Night”
American Cinematographer - July 2012 - 11
American Cinematographer - July 2012 - 12
American Cinematographer - July 2012 - 13
American Cinematographer - July 2012 - 14
American Cinematographer - July 2012 - 15
American Cinematographer - July 2012 - Production Slate: Trishna • Two and a Half Men
American Cinematographer - July 2012 - 17
American Cinematographer - July 2012 - 18
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American Cinematographer - July 2012 - 28
American Cinematographer - July 2012 - 29
American Cinematographer - July 2012 - Ancient Aliens
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American Cinematographer - July 2012 - 41
American Cinematographer - July 2012 - High Anxiety
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American Cinematographer - July 2012 - 53
American Cinematographer - July 2012 - Hair-Metal Heroes
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American Cinematographer - July 2012 - 62
American Cinematographer - July 2012 - 63
American Cinematographer - July 2012 - Shooting J.R.
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American Cinematographer - July 2012 - 68
American Cinematographer - July 2012 - 69
American Cinematographer - July 2012 - 70
American Cinematographer - July 2012 - 71
American Cinematographer - July 2012 - New Products & Services
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American Cinematographer - July 2012 - 80
American Cinematographer - July 2012 - 81
American Cinematographer - July 2012 - International Marketplace
American Cinematographer - July 2012 - Classified Ads
American Cinematographer - July 2012 - Ad Index
American Cinematographer - July 2012 - 85
American Cinematographer - July 2012 - Clubhouse News
American Cinematographer - July 2012 - 87
American Cinematographer - July 2012 - ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - Cover3
American Cinematographer - July 2012 - Cover4
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