American Cinematographer - September 2014 - 16
Alice lives a dull existence at her family-run motel until Blood Lieberman (Josh McConville, third from
top) checks in. Top right: Director Ben Briand (left) and cinematographer Jeremy Rouse discuss a scene.
16
September 2014
American Cinematographer
until the moment he confronts Alice for
watching him having sex with the Mysterious
Woman. His look to her then is a true POV
[from Alice's perspective], straight into the
lens. Also, much of the story is told from the
perspective of Alice watching Blood and the
Mysterious Woman from afar. Their arrival at
the motel is a good example of this. We used
long lenses such as the 150mm to glimpse
them with a distanced, voyeuristic feel. I then
used the 35mm or 40mm to create a closer,
more intimate feel for Alice's reactions."
While Rouse often prefers to use standard-length lenses in the 35mm to 50mm
range, Briand had some specific requirements for wider shots. "Ben likes to use wide
establishing shots to open scenes, but he
prefers a slightly longer lens than normal -
for instance, a 50mm rather than an 18mm
or 25mm. This created a graphic, painterly
image that also 'flattened' the characters
onto the oppressive motel architecture, reinforcing the idea that they are all not only
defined by their location, but also trapped in
it."
The filmmakers spent several months
scouting for that all-important location. "The
hotel we envisioned dictated every aspect of
Blood Pulls a Gun," recalls Rouse. "It had to
be a dilapidated paradise that was visually
representative of Alice. We finally chose a
motel in Swansea [in New South Wales],
because it had such an oppressively claustrophobic feel, which was only added to by the
overgrown grass and trees surrounding
it. The interior was decked out in peachy,
flesh-colored tones, which helped to determine our color palette. Visual tension was
created by shooting the ramshackle motel in
a 'romantic haze' - a golden, almost fauxtropical glow."
Rouse avoided using predetermined
look-up tables on set, preferring to light by
American Cinematographer - September 2014
Table of Contents for the Digital Edition of American Cinematographer - September 2014
Contents
American Cinematographer - September 2014 - Cover1
American Cinematographer - September 2014 - Cover2
American Cinematographer - September 2014 - 1
American Cinematographer - September 2014 - 2
American Cinematographer - September 2014 - Contents
American Cinematographer - September 2014 - 4
American Cinematographer - September 2014 - 5
American Cinematographer - September 2014 - 6
American Cinematographer - September 2014 - 7
American Cinematographer - September 2014 - 8
American Cinematographer - September 2014 - 9
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American Cinematographer - September 2014 - 42
American Cinematographer - September 2014 - 43
American Cinematographer - September 2014 - 44
American Cinematographer - September 2014 - 44a
American Cinematographer - September 2014 - 44b
American Cinematographer - September 2014 - 45
American Cinematographer - September 2014 - 46
American Cinematographer - September 2014 - 47
American Cinematographer - September 2014 - 48
American Cinematographer - September 2014 - 49
American Cinematographer - September 2014 - 50
American Cinematographer - September 2014 - 51
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American Cinematographer - September 2014 - 104
American Cinematographer - September 2014 - 104a
American Cinematographer - September 2014 - 104b
American Cinematographer - September 2014 - 105
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American Cinematographer - September 2014 - Cover3
American Cinematographer - September 2014 - Cover4
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