American Cinematographer - December 2016 - 74
A Date
With
Destiny
Caleb Deschanel, ASC trusts his
instincts while contributing to the
period atmosphere of director
Warren Beatty's 1950s drama
Rules Don't Apply.
By Jay Holben
*|*
I
Sn a darkened hotel room, an enigmatic billionaire sits
awkwardly across from an aspiring Hollywood starlet.
Engulfed in deep shadow, he says very little as he unfolds
the aluminum foil covering his TV dinner. Perplexed, she
nevertheless follows suit. This isn't what she had in mind
when she flew across the country to shoot a screen test.
The billionaire is the reclusive Howard Hughes, played
by Warren Beatty, an actor of comparable mystique; the starlet
is the young Marla Mabrey, a devoutly Baptist beauty queen
from Virginia portrayed by Lily Collins; and the feature is
Rules Don't Apply, which Beatty also wrote, produced and
74
December 2016
directed - his first stint in the director's chair since 1998's
Bulworth. Opening with a title that reads, "Never check an
interesting fact," Rules Don't Apply gleefully mixes history and
fiction as it spins a yarn of young love, sexual taboos and outsize
personality against a backdrop of old Hollywood.
The story follows Marla as she and her mother (Annette
Bening) arrive in Los Angeles and are whisked to a private
home in the Hollywood Hills, where they wait - and wait,
and wait - for Hughes to finally arrange the promised screen
test. Meanwhile, the aeronautics magnate, founder of his own
movie studio, has some 20-odd other women set up in similar
fashion. Shuttling these women around town are a team of
staff drivers, including Frank Forbes (Alden Ehrenreich), who
harbors his own dream, and hopes to get Hughes to invest in
a parcel of land off Mulholland Drive. Although Frank has
been specifically warned by his supervisor, Levar Mathis
(Matthew Broderick), to avoid any romantic entanglements
with Hughes' coterie of actresses, he quickly falls for Marla.
Complicating matters, Hughes finally meets Marla and tries
to seduce her himself. In the late 1950s, the impropriety is
perilously scandalous.
In a quiet phone call with AC, Beatty offers that Marla
and Frank "both come to Hollywood in 1958 and come face
to face with elements of transition, puritanism and
American Cinematographer
Table of Contents for the Digital Edition of American Cinematographer - December 2016
Contents
American Cinematographer - December 2016 - Cover1
American Cinematographer - December 2016 - Cover2
American Cinematographer - December 2016 - 1
American Cinematographer - December 2016 - 2
American Cinematographer - December 2016 - Contents
American Cinematographer - December 2016 - 4
American Cinematographer - December 2016 - 5
American Cinematographer - December 2016 - 6
American Cinematographer - December 2016 - 7
American Cinematographer - December 2016 - 8
American Cinematographer - December 2016 - 9
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American Cinematographer - December 2016 - 11
American Cinematographer - December 2016 - 12
American Cinematographer - December 2016 - 13
American Cinematographer - December 2016 - 14
American Cinematographer - December 2016 - 15
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American Cinematographer - December 2016 - 17
American Cinematographer - December 2016 - 18
American Cinematographer - December 2016 - 19
American Cinematographer - December 2016 - 20
American Cinematographer - December 2016 - 21
American Cinematographer - December 2016 - 22
American Cinematographer - December 2016 - 23
American Cinematographer - December 2016 - 24
American Cinematographer - December 2016 - 25
American Cinematographer - December 2016 - 26
American Cinematographer - December 2016 - 27
American Cinematographer - December 2016 - 28
American Cinematographer - December 2016 - 29
American Cinematographer - December 2016 - 30
American Cinematographer - December 2016 - 31
American Cinematographer - December 2016 - 32
American Cinematographer - December 2016 - 33
American Cinematographer - December 2016 - 34
American Cinematographer - December 2016 - 35
American Cinematographer - December 2016 - 36
American Cinematographer - December 2016 - 37
American Cinematographer - December 2016 - 38
American Cinematographer - December 2016 - 39
American Cinematographer - December 2016 - 40
American Cinematographer - December 2016 - 41
American Cinematographer - December 2016 - 42
American Cinematographer - December 2016 - 43
American Cinematographer - December 2016 - 44
American Cinematographer - December 2016 - 45
American Cinematographer - December 2016 - 46
American Cinematographer - December 2016 - 47
American Cinematographer - December 2016 - 48
American Cinematographer - December 2016 - 49
American Cinematographer - December 2016 - 50
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American Cinematographer - December 2016 - 54
American Cinematographer - December 2016 - 55
American Cinematographer - December 2016 - 56
American Cinematographer - December 2016 - 57
American Cinematographer - December 2016 - 58
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American Cinematographer - December 2016 - 60
American Cinematographer - December 2016 - 61
American Cinematographer - December 2016 - 62
American Cinematographer - December 2016 - 63
American Cinematographer - December 2016 - 64
American Cinematographer - December 2016 - 65
American Cinematographer - December 2016 - 66
American Cinematographer - December 2016 - 67
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American Cinematographer - December 2016 - 71
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American Cinematographer - December 2016 - 73
American Cinematographer - December 2016 - 74
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American Cinematographer - December 2016 - 76
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American Cinematographer - December 2016 - Cover3
American Cinematographer - December 2016 - Cover4
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