American Cinematographer - July 2014 - 72

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A Road Through Ruin

Braier mixed practical fluorescents and gelled Kino Flos
to create a dirty green tone for the film.

72

July 2014

American Cinematographer

scouting, she sat down with Michôd for
an in-depth script analysis. "I love to do
that with all my directors, especially
when working with someone for the
first time, because the films I choose are
not plot-driven projects," says Braier.
"The script is just the surface, and all
these things lie underneath. It could go
in a hundred directions, depending on
who's directing. This process is a way of
getting in their heads and understanding the essence of each scene: Why is it
there? What do they want to say?"
That process lasted 10 days and
involved "endless conversations and
thousands of coffees," says the cinematographer. Michôd recalls, "We
barely talked about shots, just story and
character. That was an incredibly
rewarding process. In preproduction,
you can get so distracted by technical
bits and pieces. It was really productive
to sit down and talk in detail about the
stuff that really matters." He adds, "I
hadn't worked that way before, psychoanalyzing a screenplay so intensively. It
may have something to do with the fact
that both of Natasha's parents are
psychoanalysts!"
"Maybe," Braier responds later
with a laugh. "Argentineans are very
intellectual as well. We like to analyze
and understand." She suggests that this
predilection also comes from her training at London's National Film &
Television School, where she routinely



American Cinematographer - July 2014

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American Cinematographer - July 2014 - 1
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