American Cinematographer - July 2015 - 68

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Harmony and Discord
are portrayed by actual musicians familiar with Beach Boys music, and
Wilson's recent engineer Mark Linett
played his '60s predecessor, Chuck
Britz.
Pohlad wanted to capture these
sequences in the style of the era's musical documentaries, such as the 1970
Beatles doc, Let It Be, shot by Anthony
B. Richmond, ASC, BSC. "I didn't
want a staid, uniform 'movie' feeling,"
the director says. "I wanted it to feel real
- handheld, grainy and spontaneous."
Yeoman operated the A camera
throughout the shoot; for the studio
scenes, he and B-camera operator
Casey Hotchkiss followed the action
with handheld Arri 16 SR3 cameras.
"Bill did not allow us in his rehearsals
with the actors," Yeoman explains. "He
would just bring us in after and say,
'Okay, roll!' He wanted us to be spontaneous and kind of accidental in our
approach. He constantly said, 'Go for
something a little weird and different.
Don't go for the obvious, pretty shot.'
By doing that, the film seems more
real."
Yeoman and Hotchkiss generally
kept to the wider end of their Canon 864mm T2.4 and 11-165mm T2.5 zoom
lenses, usually around 12mm-16mm.
(They also used a selection of Arri Ultra
16 primes.) Having worked together on
such features as Get Him to the Greek
and Bridesmaids, Yeoman and
Hotchkiss shared a familiarity that
helped keep them out of each other's
way, despite the cramped studio.
Yeoman consulted the video tap,
but never to evaluate image quality. "I'm
old-fashioned and rely on my light
meters," he says. "After shooting film for
a while you know pretty much what
you're getting, but sometimes when we
were doing the two-camera coverage I
had no idea what Casey was shooting.
Bill, Casey and I would often review
what we had both done and make
suggestions to each other for future
takes."
Gaining access to the historic
recording studio came with the stipulation that nothing be disturbed.

The filmmakers
prepare matching
shots of Dano
and Cusack, each
lying in bed
while swathed in
the same blue
bathrobe, to
underscore
Wilson's
persistent and
mounting
depression.

68

July 2015

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - July 2015

Contents
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American Cinematographer - July 2015 - 1
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