American Cinematographer - July 2018 - 61

Photo on page 60 by Brooke Palmer. David Greene, ASC, CSC photo by Steve Wilkie. Additional behind-the-scenes photos by Boris Mojsovski, CSC.
Lighting diagram and renderings provided by Greene. All images courtesy of Syfy.

the course of the show's four seasons,
moving beyond the initial parameters
of 2015 and 2043 to include, among
other eras, the early, middle and late
20th century, the 19th century and the
22nd century - as well as the 15th
century in the current season, and even
an alternate reality. This peripatetic
premise has mandated a visual palette
that is not just varied, but tirelessly so.
"Boris and I got to do something new
almost every episode, and that kept us
on our toes and creatively engaged,"
says Greene.
When AC caught up with
Greene and Mojsovski, they had
wrapped the show's final season -
about which they were necessarily
tight-lipped - and were prepping
their next projects. For Greene, it's
Season 2 of the Starz series American
Gods, and for Mojsovski, it's the new
Warner Bros./DC Entertainment
series Titans.
In separate interviews, the cinematographers discussed their collaboration on 12 Monkeys. What follows
are excerpts from these conversations.
Season 1
David Greene, ASC, CSC: The
biggest influence on my approach to the
first season was Children of Men (AC
Dec. '06), which I referenced for the
look of 2043. There was also the pilot
[shot by Todd McMullen]. The only
common thread between Terry Gilliam's
movie and our series was the basic
premise.
Lighting the temporal facility,
where characters 'splinter' [the show's
term for time-travel], was a little
unnerving. It's one of the few sets we see
consistently in the show, and the set was
finished the day before we started shooting it. I had a chance to prelight it, but
because of the production schedule, I
didn't have a chance to test it on camera.
The main space is large and cavernous,
and I wanted it to be moody; I didn't
want toplight. I wanted to literally
outline the space in practicals to give a
sense of the shape of the room, and
[production designer] John Mott and I

Opposite: James Cole (Aaron Stanford) partners with scientist Cassandra Railly (Amanda Schull)
to travel through time in a desperate attempt to stop a cult from releasing a deadly virus in the
series 12 Monkeys. This page, top: Cinematographer David Greene, ASC, CSC lines up a shot.
Bottom: Cinematographer Boris Mojsovski, CSC.

spent a lot of time discussing how to do
that. We landed on a lot of fluorescents
and China hats, and fixtures I call
'marine lights' - lamps in glass jars.
[See diagram, page 62.]
In the 'ready room,' which is right
beside the splintering room, we used the
same approach, encircling the space
with practicals. There's a table in there
www.ascmag.com

and I knew characters would be sitting
around it all the time, and I knew
immediately I wanted that to be a lit
table - and I knew a director would
want to do a 360 in that room. We actually did 360s in there several times, and
even I did one when I directed an
episode. [Laughs.] In the first season, we
lit the table from below with daylightJuly 2018

61


http://www.ascmag.com

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

Contents
American Cinematographer - July 2018 - Cover1
American Cinematographer - July 2018 - Cover2
American Cinematographer - July 2018 - 1
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