American Cinematographer - November 2008 - (Page 55)

“[Production designer] Catherine Martin is always my first point of collaboration, so any cinematographer I work with has to be part of that relationship,” the director continues. “Once C.M. and I have formed the visual language of a project, we need a cinematographer to interpret it. Mandy’s contribution to the style of [the Chanel spot] proved so strong, and she created such a great look for Nicole, that when we began work on Australia, it was almost impossible to walk away from that relationship.” Throughout the making of Australia, the word “epic” was constantly applied to the production — fitting, considering that the filmmakers shot 2.7 million feet of negative over 180 days of main-unit photography. Walker feels the description is appropriate but for different reasons. “What’s really epic about films such as Gone With the Wind is the scope of the human drama,” she observes. “The script always determines the way a film looks, and Australia is no different. Lady Sarah’s story of tragedy, romance, comedy, action and adventure occurs over a significant period of time, and the lighting, production design and camerawork are firmly choreographed to [match] her emotional journey. Baz’s trademark camera flourishes are still evident, but the camerawork is also very much in the spirit of epic movies.” Luhrmann has described the production’s combination of studio and location photography as “Lucas and Lean.” Walker agrees, noting, “David Lean’s approach would be to shoot the whole film on location, and that’s something Baz seriously considered. George Lucas prefers to shoot everything within the controlled environment of the studio, which was the approach [Luhrmann] enjoyed so much with Moulin Rouge.” Stage work was undertaken at the Fox Studio facilities in Sydney, and much of the location photogra- Photos courtesy of 20th Century Fox. Opposite: Lady Sarah Ashley (Nicole Kidman) and The Drover (Hugh Jackman) share a quiet moment in Australia. This page, top: Sarah arrives from England to claim her property, a remote cattle station in Western Australia. Middle: The Drover makes a grim first impression with his pugnacious behavior. Bottom: Director Baz Luhrmann (center) talks over a shot with cinematographer Mandy Walker, ACS (right) and 2nd-unit cinematographer Damian Wyvill. American Cinematographer 55

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American Cinematographer - November 2008 Contents Editor’s Note Letters Short Takes Production Slate Forging a Bond The Making of a President Thunder Down Under Habitat for Inhumanity Saluting Television’s Top Talents Post Focus New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up

American Cinematographer - November 2008

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