American Cinematographer - September 2017 - 62

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Killer's Keeper

Top left and above: Kincaid testifies against Dukhovich in court. Top right: O'Loughlin studies
the scene inside the courtroom.

combat, Bryce is captured and taken to
a cellar in an adult club in Amsterdam's
famous red-light district - an area
known locally as Rosse Buurt - where
he is strapped into a dentist's chair.
"The whole look came about
when Pat, myself and production
designer Russell De Rozario were
scouting the De Wallen red-light
district," O'Loughlin says. "We wanted
the torture scene to be disturbingly
hyper-real, disorientating and just plain
creepy. I showed the guys my collection
of mannequin photos, which I've been
photographing all over the world for
some years - they've become a little bit
of an obsession. The strong colors of
62

September 2017

those photos, Pat and Russell's macabre
sense of humor, and the sights and
sounds of the De Wallen district gave us
the idea that Bryce is tortured in an
S&M dungeon. We had a lot of fun
working out the exotic nature of the
objects, including mannequins, [which]
you would find in such a place."
The shooting location for the
sequence was the catacombs of the
Clerkenwell House of Detention in
London. Originally used in the 19th
century for prisoners awaiting trial, the
catacombs were since employed as airraid shelters in the Second World War,
and have proven popular as filming
locations for productions such as
American Cinematographer

Sherlock Holmes (AC Jan. '10) and the
British television show Spooks. "Patrick
and I thought this subterranean location
was perfect," O'Loughlin recalls. "It's
almost entirely brick, made up of long
corridors and cell-like rooms with lowvaulted ceilings. It's dark, damp and feels
haunted by the memories of thousands of
ill-treated prisoners."
The cinematographer lit the space
in bold colors: 6' Kino Flos gelled with
Rosco Flame Red contrasted with strong
blue light gained from adjusting the
RGB controls on the SkyPanels. A practical dentist's lamp positioned above
Reynolds provided top light in a neutral
color. Various Fresnels and hard lights
gelled with CTS and Bastard Amber
brought out architectural detail. To
enhance the disturbing tone of the scene,
O'Loughlin used a static camera. As he
describes, "In that environment, the stillness is menacing, a kind of unflinching
voyeurism."
Luckily for Bryce, Kincaid comes
to the rescue in spectacular style - bursting into the cellar, letting off flash
grenades, and knocking out a lot of the
existing lights. Surviving fixtures strobe
and flicker in the darkness. "We switched
to handheld for that part of the
sequence," O'Loughlin says. "It's a maelstrom of gun-flashes, noise and heavy
smoke."
The cinematographer's preference
on The Hitman's Bodyguard for creating
lighting that supported the drama rather
than the comedy, as evidenced in the
dungeon scene, is also on display in the



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

Contents
American Cinematographer - September 2017 - Cover1
American Cinematographer - September 2017 - Cover2
American Cinematographer - September 2017 - 1
American Cinematographer - September 2017 - 2
American Cinematographer - September 2017 - Contents
American Cinematographer - September 2017 - 4
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