American Cinematographer - January 2016 - 22

Right: Fred is an
acclaimed
composer and
conductor with no
intention of
resuming his
musical career.
Below:
Cinematographer
Luca Bigazzi
(wearing glasses)
lines up a shot
with director Paolo
Sorrentino.

because it was just too beautiful. Why go
against it?"
As Bigazzi tells it, he and Sorrentino
know each other so well that they rarely
discuss framing or lighting, which makes
for a faster and more efficient shoot. "This
is a great quality," the cinematographer
says, "because you don't lose time, you
don't lose the moment, you don't lose the
acting or the reality."
Bigazzi's lighting techniques also
contribute to a speedy production. "We
22

January 2016

light the set not knowing exactly where the
actors will be, where the camera will be, or
what the camera movement will look like,"
he reveals. "After the set is lit, the actors
[arrive] and then we decide how to shoot.
The light is more for the overall ambience
than for a single shot. That means the
camera can move 360 degrees, we can use
three cameras at the same time, and we
won't change the light between shots in
the same sequence."
On all of the films he works on,
American Cinematographer

Bigazzi operates the A camera "because I
don't want to lose contact with the actors,"
he says. "This relationship with the actors is
part of the photographic work, and it's a
wordless way of relating. The second
camera in Youth was operated by my longtime collaborator Daria D'Antonio. The
Swiss Steadicam operator was Ariel Salati."
For interiors, Bigazzi usually
suspends lights from the ceiling or places
units outside to illuminate through
windows, thus letting actors feel more
comfortable moving freely throughout the
set. "It's quite difficult sometimes, because I
have to guess how high my lighting can be
without it being in the frame," he says.
"Thanks to Paolo, I learned how to light a
set so my lighting is invisible. Sometimes the
actors will ask me, 'Where is my light?' For
me, it's better for them not to know. I only
hope it's better for people watching the
movie, as well. It's a realistic way of lighting,
but it's not at all flat-looking."
In shooting a night-exterior
sequence at a garden party with a band
playing on a rotating stage, Bigazzi didn't
have any space for lights, since the camera
would rotate along with the musicians on
the relatively small platform for shots of the
band. He also didn't want to use distant
lighting balloons or Condors, because it
would spill light across the set. Instead, he



American Cinematographer - January 2016

Table of Contents for the Digital Edition of American Cinematographer - January 2016

Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
American Cinematographer - January 2016 - 8
American Cinematographer - January 2016 - 9
American Cinematographer - January 2016 - 10
American Cinematographer - January 2016 - 11
American Cinematographer - January 2016 - 12
American Cinematographer - January 2016 - 13
American Cinematographer - January 2016 - 14
American Cinematographer - January 2016 - 15
American Cinematographer - January 2016 - 16
American Cinematographer - January 2016 - 17
American Cinematographer - January 2016 - 18
American Cinematographer - January 2016 - 19
American Cinematographer - January 2016 - 20
American Cinematographer - January 2016 - 21
American Cinematographer - January 2016 - 22
American Cinematographer - January 2016 - 23
American Cinematographer - January 2016 - 24
American Cinematographer - January 2016 - 25
American Cinematographer - January 2016 - 26
American Cinematographer - January 2016 - 27
American Cinematographer - January 2016 - 28
American Cinematographer - January 2016 - 29
American Cinematographer - January 2016 - 30
American Cinematographer - January 2016 - 31
American Cinematographer - January 2016 - 32
American Cinematographer - January 2016 - 33
American Cinematographer - January 2016 - 34
American Cinematographer - January 2016 - 35
American Cinematographer - January 2016 - 36
American Cinematographer - January 2016 - 37
American Cinematographer - January 2016 - 38
American Cinematographer - January 2016 - 39
American Cinematographer - January 2016 - 40
American Cinematographer - January 2016 - 41
American Cinematographer - January 2016 - 42
American Cinematographer - January 2016 - 43
American Cinematographer - January 2016 - 44
American Cinematographer - January 2016 - 45
American Cinematographer - January 2016 - 46
American Cinematographer - January 2016 - 47
American Cinematographer - January 2016 - 48
American Cinematographer - January 2016 - 49
American Cinematographer - January 2016 - 50
American Cinematographer - January 2016 - 51
American Cinematographer - January 2016 - 52
American Cinematographer - January 2016 - 53
American Cinematographer - January 2016 - 54
American Cinematographer - January 2016 - 55
American Cinematographer - January 2016 - 56
American Cinematographer - January 2016 - 57
American Cinematographer - January 2016 - 58
American Cinematographer - January 2016 - 59
American Cinematographer - January 2016 - 60
American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
American Cinematographer - January 2016 - 64
American Cinematographer - January 2016 - 65
American Cinematographer - January 2016 - 66
American Cinematographer - January 2016 - 67
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American Cinematographer - January 2016 - 69
American Cinematographer - January 2016 - 70
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American Cinematographer - January 2016 - 72
American Cinematographer - January 2016 - 73
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American Cinematographer - January 2016 - 75
American Cinematographer - January 2016 - 76
American Cinematographer - January 2016 - 77
American Cinematographer - January 2016 - 78
American Cinematographer - January 2016 - 79
American Cinematographer - January 2016 - 80
American Cinematographer - January 2016 - 81
American Cinematographer - January 2016 - 82
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American Cinematographer - January 2016 - 116
American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - Cover4
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