American Cinematographer - August 2017 - 62

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Haunted House
Right: Mara
stands in front of
a false wall for a
shot of her
character hiding a
note before
moving out of
the house.
Below: Palermo
hunkers down in
the passenger
seat - out of the
dashboardmounted
camera's angle of
view - for a shot
of Mara behind
the wheel.

[in Irving, Texas, near Dallas] and took
a bunch of photos, multiple times a day,
to see the different ways the light would
play. And then it was shooting costume
tests.
Were the production designers,
Jade Healy and Tom Walker, already
on the project when you came on
board?
Palermo: Yeah. The house that
they used was completely abandoned,
and you can't tell. They did incredible
work on it. Early on, Jade sent me a look
book with stills of things that she was
referencing - other movies, other
62

August 2017

books - and when we were choosing
the wallpaper for the bedroom, she
made a small little ghost on a stick and
put it in front of swatches of wallpaper.
It was the cutest thing, but it really illustrated what it would look like. Jade had
previously committed to go do Yorgos
Lanthimos' new movie [The Killing of a
Sacred Deer], so she worked side by side
with Tom, who was local, and when we
did additional photography in October,
Tom did all that.
Did you use some atmosphere
inside the house?
Palermo: We did. Hazers were
American Cinematographer

running any time the ghost was present
inside the house. That was inspired by
some of the photography we were looking at. We really like Gregory
Crewdson's stuff, which always has that
eerie quality. I looked a lot at the way he
lights day interiors, because he manages
to keep his corners really deep. I wanted
the walls to stay deep, I wanted to feel
the shafts of light, and atmosphere was
really important for helping achieve that
falloff.
What sort of lighting package
did you have?
Palermo: A very small package.
More often than not it was flagging stuff
- the Texas sun was just too strong for
what we had. We couldn't afford the
kind of HMIs that we would need to
overpower it, so it became a game of
removal: Let's block out windows and
keep the source coming in one direction.
Bret Curry, my gaffer and second-unit
cinematographer, and I noticed that
there was a lot of green coming into the
house, which was mainly from the grass
and all the trees; Rooney is so fair, when
she would get up to a window she would
take on this really lime-green pallor. So
we would lay out big sheets of
unbleached muslin in the grass, and that
would bring it back to neutral. Save for
that, daylight interiors were pretty



Table of Contents for the Digital Edition of American Cinematographer - August 2017

Contents
American Cinematographer - August 2017 - Intro
American Cinematographer - August 2017 - Cover1
American Cinematographer - August 2017 - Cover2
American Cinematographer - August 2017 - 1
American Cinematographer - August 2017 - 2
American Cinematographer - August 2017 - Contents
American Cinematographer - August 2017 - 4
American Cinematographer - August 2017 - 5
American Cinematographer - August 2017 - 6
American Cinematographer - August 2017 - 7
American Cinematographer - August 2017 - 8
American Cinematographer - August 2017 - 9
American Cinematographer - August 2017 - 10
American Cinematographer - August 2017 - 11
American Cinematographer - August 2017 - 12
American Cinematographer - August 2017 - 13
American Cinematographer - August 2017 - 14
American Cinematographer - August 2017 - 15
American Cinematographer - August 2017 - 16
American Cinematographer - August 2017 - 17
American Cinematographer - August 2017 - 18
American Cinematographer - August 2017 - 19
American Cinematographer - August 2017 - 20
American Cinematographer - August 2017 - 21
American Cinematographer - August 2017 - 22
American Cinematographer - August 2017 - 23
American Cinematographer - August 2017 - 24
American Cinematographer - August 2017 - 25
American Cinematographer - August 2017 - 26
American Cinematographer - August 2017 - 27
American Cinematographer - August 2017 - 28
American Cinematographer - August 2017 - 29
American Cinematographer - August 2017 - 30
American Cinematographer - August 2017 - 31
American Cinematographer - August 2017 - 32
American Cinematographer - August 2017 - 32a
American Cinematographer - August 2017 - 32b
American Cinematographer - August 2017 - 32c
American Cinematographer - August 2017 - 32d
American Cinematographer - August 2017 - 33
American Cinematographer - August 2017 - 34
American Cinematographer - August 2017 - 35
American Cinematographer - August 2017 - 36
American Cinematographer - August 2017 - 37
American Cinematographer - August 2017 - 38
American Cinematographer - August 2017 - 39
American Cinematographer - August 2017 - 40
American Cinematographer - August 2017 - 41
American Cinematographer - August 2017 - 42
American Cinematographer - August 2017 - 43
American Cinematographer - August 2017 - 44
American Cinematographer - August 2017 - 45
American Cinematographer - August 2017 - 46
American Cinematographer - August 2017 - 47
American Cinematographer - August 2017 - 48
American Cinematographer - August 2017 - 49
American Cinematographer - August 2017 - 50
American Cinematographer - August 2017 - 51
American Cinematographer - August 2017 - 52
American Cinematographer - August 2017 - 53
American Cinematographer - August 2017 - 54
American Cinematographer - August 2017 - 55
American Cinematographer - August 2017 - 56
American Cinematographer - August 2017 - 57
American Cinematographer - August 2017 - 58
American Cinematographer - August 2017 - 59
American Cinematographer - August 2017 - 60
American Cinematographer - August 2017 - 61
American Cinematographer - August 2017 - 62
American Cinematographer - August 2017 - 63
American Cinematographer - August 2017 - 64
American Cinematographer - August 2017 - 65
American Cinematographer - August 2017 - 66
American Cinematographer - August 2017 - 67
American Cinematographer - August 2017 - 68
American Cinematographer - August 2017 - 69
American Cinematographer - August 2017 - 70
American Cinematographer - August 2017 - 71
American Cinematographer - August 2017 - 72
American Cinematographer - August 2017 - 73
American Cinematographer - August 2017 - 74
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American Cinematographer - August 2017 - 76
American Cinematographer - August 2017 - 77
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American Cinematographer - August 2017 - 79
American Cinematographer - August 2017 - 80
American Cinematographer - August 2017 - Cover3
American Cinematographer - August 2017 - Cover4
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