American Cinematographer - January 2017 - 46
◗
Worlds Apart
Top: Three
Japanese
villagers are
crucified on a
rocky beach.
Middle and
bottom: Most
of the action
for the
crucifixion
scene was shot
on location and
involved both
day and night
work.
fiery hell as Rodrigues faces his toughest
test.
Another striking scene shows
the samurai arriving in a village in the
fog. Were you just lucky with the
weather?
Prieto: The weather was always a
challenge in Taiwan. For the scene you
mention, we'd spent the day shooting
most of our coverage in the village, and
suddenly the fog rolled in as we were
setting up with a long lens to shoot the
samurai entering the village. It did not
match what we'd shot before at all, but
we shot it anyway, and it became this
magical shot - the samurai gradually
materialize as they approach the camera.
Marty said, 'We've got to reshoot the
whole scene in the fog!' Of course he
was right, so we did. [Laughs.]
We created all our fog for the
scene showing the priests traveling by
boat at night, which we shot in a water
tank in Taiwan. Marty referenced a
wonderful, spooky scene in [Kenji
Mizoguchi's] Ugetsu that shows small
boats traveling on a lake in the fog. We
surrounded the tank with bluescreen,
and for an even moonlight effect, we
hung a 30-by-40-foot truss with about
30 [Kino Flo Flathead 80s] through
Light Grid Cloth from an industrial
crane. At the perimeter of the light box,
46
January 2017
American Cinematographer
American Cinematographer - January 2017
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Contents
American Cinematographer - January 2017 - Cover1
American Cinematographer - January 2017 - Cover2
American Cinematographer - January 2017 - 1
American Cinematographer - January 2017 - 2
American Cinematographer - January 2017 - Contents
American Cinematographer - January 2017 - 4
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American Cinematographer - January 2017 - 48a
American Cinematographer - January 2017 - 48b
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