American Cinematographer - October 2015 - 80
◗
Desperate Times
Top and Bottom: Working for Carver, Nash is now the person who evicts people from their homes.
Middle: Bukowski lines up a shot of Garfield on set.
80
October 2015
American Cinematographer
a [LightGear VHO Pro LED
LiteRibbon] acting as a ring light
around the matte box of the camera,
which I could bring up and down with a
dimmer on my belt.
The idea of 'home' is central to
this film, and the two protagonists
define this quite differently. What were
your strategies for showing this?
Bukowski: Again, we're talking
about the raw material of locations. I
can't say enough about how important
locations are to me as a cinematographer. If the raw material's not speaking,
no matter how much you light it or
populate it with cast and set, it's not
going to say what it needs to say.
Shannon's [character's] house is
on the water, so it has access to movement and freedom; lots of light is
coming into that house. Proportionally
to the size of a human, it's quite massive,
but also quite cold. So a cleaner, more
neutral, monochromatic color scheme
became central to the design. Andrew's
house was cozier, with warmer colors,
surrounded by green, and Laura Dern's
character had plants in the house.
Having life, and soft lines in the furniture, it all softens the environment,
making it a place that feels safe and
warm - as opposed to [Shannon's
house], where we feel a bit of alienation.
Tell me about camera movement. How much was handheld?
Bukowski: A good third of the
film; we did employ Steadicam as well.
Not an awful lot on the dolly. We shot
with lightweight Angenieux Optimo
zoom lenses: 15-40mm [T2.6], 2876mm [T2.6] - which was the workhorse because it's mid-range - and
45-120mm [T2.8]. They're fairly fast
and they're light. I just love that tradition
with the zoom, inspired by old 16mm
documentary handheld methods. Often
when you're handholding, you land in a
spot and don't want to move anymore
because you like the composition and
something's going on with the actor, but
you do want to get closer. Having a
zoom lens enables you to creep in and
adjust the frame.
You and Ramin discussed 1960s
Table of Contents for the Digital Edition of American Cinematographer - October 2015
Contents
American Cinematographer - October 2015 - Intro
American Cinematographer - October 2015 - Cover1
American Cinematographer - October 2015 - Cover2
American Cinematographer - October 2015 - 1
American Cinematographer - October 2015 - 2
American Cinematographer - October 2015 - Contents
American Cinematographer - October 2015 - 4
American Cinematographer - October 2015 - 5
American Cinematographer - October 2015 - 6
American Cinematographer - October 2015 - 7
American Cinematographer - October 2015 - 8
American Cinematographer - October 2015 - 9
American Cinematographer - October 2015 - 10
American Cinematographer - October 2015 - 11
American Cinematographer - October 2015 - 12
American Cinematographer - October 2015 - 13
American Cinematographer - October 2015 - 14
American Cinematographer - October 2015 - 15
American Cinematographer - October 2015 - 16
American Cinematographer - October 2015 - 17
American Cinematographer - October 2015 - 18
American Cinematographer - October 2015 - 19
American Cinematographer - October 2015 - 20
American Cinematographer - October 2015 - 21
American Cinematographer - October 2015 - 22
American Cinematographer - October 2015 - 23
American Cinematographer - October 2015 - 24
American Cinematographer - October 2015 - 25
American Cinematographer - October 2015 - 26
American Cinematographer - October 2015 - 27
American Cinematographer - October 2015 - 28
American Cinematographer - October 2015 - 29
American Cinematographer - October 2015 - 30
American Cinematographer - October 2015 - 31
American Cinematographer - October 2015 - 32
American Cinematographer - October 2015 - 33
American Cinematographer - October 2015 - 34
American Cinematographer - October 2015 - 35
American Cinematographer - October 2015 - 36
American Cinematographer - October 2015 - 37
American Cinematographer - October 2015 - 38
American Cinematographer - October 2015 - 39
American Cinematographer - October 2015 - 40
American Cinematographer - October 2015 - 41
American Cinematographer - October 2015 - 42
American Cinematographer - October 2015 - 43
American Cinematographer - October 2015 - 44
American Cinematographer - October 2015 - 45
American Cinematographer - October 2015 - 46
American Cinematographer - October 2015 - 47
American Cinematographer - October 2015 - 48
American Cinematographer - October 2015 - 49
American Cinematographer - October 2015 - 50
American Cinematographer - October 2015 - 50a
American Cinematographer - October 2015 - 50b
American Cinematographer - October 2015 - 51
American Cinematographer - October 2015 - 52
American Cinematographer - October 2015 - 53
American Cinematographer - October 2015 - 54
American Cinematographer - October 2015 - 55
American Cinematographer - October 2015 - 56
American Cinematographer - October 2015 - 57
American Cinematographer - October 2015 - 58
American Cinematographer - October 2015 - 59
American Cinematographer - October 2015 - 60
American Cinematographer - October 2015 - 61
American Cinematographer - October 2015 - 62
American Cinematographer - October 2015 - 63
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American Cinematographer - October 2015 - 95
American Cinematographer - October 2015 - 96
American Cinematographer - October 2015 - Cover3
American Cinematographer - October 2015 - Cover4
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