American Cinematographer - January 2020 - 74

Truth to Light

The toplight in this scene - featuring the
deposition of DuPont's CEO - was inspired by
the whistleblower thrillers of Alan J. Pakula and
Gordon Willis, ASC, and specifically Willis' later
work in The Godfather. It was shot beneath a
foamcore-crafted box fitted with five BBA bulbs
under 1000H tracing paper.

which limits the depth of your visibility and creates a sense of power and
curiosity about what is hiding behind
those windows," Lachman notes. He
adds that the "frames in the Taft
offices - in the hallways and the
windows looking out, a repeating
theme within the architecture - form
a sort of minimalism that echo the
negative space used by the painters
we looked at for inspiration: Giorgio
De Chirico and Rene Magritte, who
used challenging juxtapositions of

2.39:1

TECH SPECS

Digital Capture

Arri Alexa Mini

Primes: Cooke Speed Panchro,
Canon K-35
Zooms: Cooke, Angénieux

74

January 2020

objects and space, provoking a
hidden feeling of power."
When the filmmakers first
scouted, the offices had older Cool
White fluorescent tubes that read
green-yellow - which, as noted,
appealed to Lachman - but before
shooting commenced, the building
had started the process of switching
to newer LED lighting units. Luckily,
the cinematographer was able to
convince the facility to keep the older
tubes until the shoot was over.
Gaffer John DeBlau, who has
worked with Lachman for decades
(AC Nov. '19), explains that much of

the lighting in the offices involved
controlling the windows - either by
gelling them with ND or using existing shades - and making use of the
fluorescent lighting in the offices, and
then building up the levels inside to
supplement. "Most of the offices were
a mix of daylight and the Cool White
fluorescents that have a bit of green in
them," DeBlau says. "We'd bounce
HMIs inside during the day. At night
we'd switch to [tungsten] Source
Fours gelled with Half CTB and Plus
Green to enhance the quality of light
that was there."
The production found many
uses for portable, battery-powered
Astera LED units. "You can make
them any color and just stick one on a

"When I first began working for the Maysles Brothers in cinéma vérité, Al,
who was the cinematographer, always used to say to me, 'If you can find it
in life, why do you need to create it in fiction?' He was like a mentor and
father to me when I was just starting out, and I never could admit to him
that I was shooting fictionalized stories. When I got my big break to shoot
Desperately Seeking Susan, I felt compelled to tell Al that it was a documentary about Madonna!"
- Edward Lachman, ASC
American Cinematographer - 100 Years



American Cinematographer - January 2020

Table of Contents for the Digital Edition of American Cinematographer - January 2020

Contents
American Cinematographer - January 2020 - Intro
American Cinematographer - January 2020 - Cover1
American Cinematographer - January 2020 - Cover2
American Cinematographer - January 2020 - 1
American Cinematographer - January 2020 - Contents
American Cinematographer - January 2020 - 3
American Cinematographer - January 2020 - 4
American Cinematographer - January 2020 - 5
American Cinematographer - January 2020 - 6
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American Cinematographer - January 2020 - 70
American Cinematographer - January 2020 - 70a
American Cinematographer - January 2020 - 70b
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American Cinematographer - January 2020 - Cover3
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