American Cinematographer - November 2013 - 24

makers went to great lengths to re-create
this footage, even shooting at the same
club. "We tried to duplicate everything as
closely as possible, right down to the
camera angles, so viewers could later search
those things out [on the Internet] if they
were interested," Condon says. "That is the
fun, interactive nature of the movie."
Preproduction began with a couple
weeks of work before and after Christmas
2012. The crew then embarked on a 50-day
shoot, from mid-January 2013 to the end of
March, spanning 70 locations - mostly in
Belgium, but also in Berlin, Iceland and
Nairobi.
Schliessler says he and Belgian gaffer
Wim Temmerman could visit certain locations only once before shooting. "I shared
my thoughts with Wim in rough terms," the
cinematographer recalls. "Then, on the day
of the shoot, I would wonder, 'Is everything
here that I asked for five weeks ago?' But
everything was always there! We had a
hard-working Belgian crew that made my
life easy."
One of the most involved locations
was Berlin's century-old Kunsthaus Tacheles,
an abandoned building that had served as
an arts center for several decades. In the
movie, the structure stands in for the Berlin
branch of the Chaos Computer Club.
Assange goes there with Domscheit-Berg,
who holds a membership along with other
computer experts, visual artists and electronic musicians. Schliessler and Temmerman referenced YouTube videos and
pictures that displayed the colorful, moving
lights and strobes that illuminated the building in its rave-era heyday. "It was completely
shut down," Schliessler recalls. "There
weren't any practicals or light sockets that
worked, so we had to start from scratch.
The art department [headed by Denis
Schnegg] supplied us with hundreds of
practicals, and we hid Chinese lanterns or
small LED panels wherever possible. To
create the interactive lighting, we used flickering Par cans, [Martin] Atomic strobes and
MAC 2000 moving heads, and RGB LED
washes."
Temmerman also had a custom
portable lantern made with tungsten and
daylight LEDs; this unit served as a fill light
on tracking shots in the hallways and staircases. More than 300 fixtures were used to

Top: Assange and his
WikiLeaks recruit,
Daniel DomscheitBerg (Daniel Brühl),
discuss the site's
potential in the Berlin
branch of the
Computer Chaos
Club, a set built in
Berlin's Kunsthaus
Tacheles. Middle:
Crewmembers
capture the
characters as they
exchange messages
on their laptops.
Bottom: DomscheitBerg departs the
vibrantly lit building.

24

November 2013

American Cinematographer



American Cinematographer - November 2013

Table of Contents for the Digital Edition of American Cinematographer - November 2013

Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
American Cinematographer - November 2013 - 10
American Cinematographer - November 2013 - 11
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American Cinematographer - November 2013 - 14
American Cinematographer - November 2013 - 15
American Cinematographer - November 2013 - 16
American Cinematographer - November 2013 - 17
American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
American Cinematographer - November 2013 - 20
American Cinematographer - November 2013 - 21
American Cinematographer - November 2013 - 22
American Cinematographer - November 2013 - 23
American Cinematographer - November 2013 - 24
American Cinematographer - November 2013 - 25
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American Cinematographer - November 2013 - 27
American Cinematographer - November 2013 - 28
American Cinematographer - November 2013 - 29
American Cinematographer - November 2013 - 30
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American Cinematographer - November 2013 - 34
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