American Cinematographer - March 2017 - 35

Top: Begbie
enjoys his
newfound
freedom. Middle:
Returning to his
criminal ways,
Begbie reunites
with fence Mikey
Forrester (played
by Trainspotting
author Irvine
Welsh). Bottom:
Dod Mantle and
Boyle review a
setup.

ing package was most appropriate for
the environment and conditions."
Further complicating the location
work was the movie's abundance of
nighttime scenes. Daylight during
Scotland's summer can last 16 to 18
hours, so completing the feature on time
required that many of these night scenes
be shot in tented locations, including a
council flat and a parking garage at
Edinburgh Castle. Additionally, splitday shoots were added to the customary
turnarounds from day to night schedules within the same six-day working
week.
"Despite these frustrations, the
cost savings for a production are significant and far less damaging when
compared to losing an actor without
completing the scene," Dod Mantle
remarks. "That would have been totally
out of the question for Danny - and
certainly problematic for the film."
It's virtually impossible to divorce
Trainspotting from its anarchic energy,
inventive camera and dynamic editing
style. "But modern audiences require
that anarchy to be delivered to them in
a different way," Dod Mantle points
out. "It would be arrogant and wrong to
even try to simulate the first one."
Instead, he says, "The new film is
www.theasc.com

March 2017

35



http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - March 2017

Contents
American Cinematographer - March 2017 - Cover1
American Cinematographer - March 2017 - Cover2
American Cinematographer - March 2017 - 1
American Cinematographer - March 2017 - 2
American Cinematographer - March 2017 - Contents
American Cinematographer - March 2017 - 4
American Cinematographer - March 2017 - 5
American Cinematographer - March 2017 - 6
American Cinematographer - March 2017 - 7
American Cinematographer - March 2017 - 8
American Cinematographer - March 2017 - 9
American Cinematographer - March 2017 - 10
American Cinematographer - March 2017 - 11
American Cinematographer - March 2017 - 12
American Cinematographer - March 2017 - 13
American Cinematographer - March 2017 - 14
American Cinematographer - March 2017 - 15
American Cinematographer - March 2017 - 16
American Cinematographer - March 2017 - 17
American Cinematographer - March 2017 - 18
American Cinematographer - March 2017 - 19
American Cinematographer - March 2017 - 20
American Cinematographer - March 2017 - 21
American Cinematographer - March 2017 - 22
American Cinematographer - March 2017 - 23
American Cinematographer - March 2017 - 24
American Cinematographer - March 2017 - 25
American Cinematographer - March 2017 - A
American Cinematographer - March 2017 - B
American Cinematographer - March 2017 - 26
American Cinematographer - March 2017 - 27
American Cinematographer - March 2017 - 28
American Cinematographer - March 2017 - 29
American Cinematographer - March 2017 - 30
American Cinematographer - March 2017 - 31
American Cinematographer - March 2017 - I1
American Cinematographer - March 2017 - I2
American Cinematographer - March 2017 - 32
American Cinematographer - March 2017 - 33
American Cinematographer - March 2017 - 34
American Cinematographer - March 2017 - 35
American Cinematographer - March 2017 - 36
American Cinematographer - March 2017 - 37
American Cinematographer - March 2017 - 38
American Cinematographer - March 2017 - 39
American Cinematographer - March 2017 - 40
American Cinematographer - March 2017 - 41
American Cinematographer - March 2017 - 42
American Cinematographer - March 2017 - 43
American Cinematographer - March 2017 - 44
American Cinematographer - March 2017 - 45
American Cinematographer - March 2017 - 46
American Cinematographer - March 2017 - 47
American Cinematographer - March 2017 - 48
American Cinematographer - March 2017 - 49
American Cinematographer - March 2017 - 50
American Cinematographer - March 2017 - 51
American Cinematographer - March 2017 - 52
American Cinematographer - March 2017 - 53
American Cinematographer - March 2017 - 54
American Cinematographer - March 2017 - 55
American Cinematographer - March 2017 - 56
American Cinematographer - March 2017 - 57
American Cinematographer - March 2017 - 58
American Cinematographer - March 2017 - 59
American Cinematographer - March 2017 - 60
American Cinematographer - March 2017 - 61
American Cinematographer - March 2017 - 62
American Cinematographer - March 2017 - 63
American Cinematographer - March 2017 - 64
American Cinematographer - March 2017 - 65
American Cinematographer - March 2017 - 66
American Cinematographer - March 2017 - 67
American Cinematographer - March 2017 - 68
American Cinematographer - March 2017 - 69
American Cinematographer - March 2017 - 70
American Cinematographer - March 2017 - 71
American Cinematographer - March 2017 - 72
American Cinematographer - March 2017 - 73
American Cinematographer - March 2017 - 74
American Cinematographer - March 2017 - 75
American Cinematographer - March 2017 - 76
American Cinematographer - March 2017 - 77
American Cinematographer - March 2017 - 78
American Cinematographer - March 2017 - 79
American Cinematographer - March 2017 - 80
American Cinematographer - March 2017 - 81
American Cinematographer - March 2017 - 82
American Cinematographer - March 2017 - 83
American Cinematographer - March 2017 - 84
American Cinematographer - March 2017 - 85
American Cinematographer - March 2017 - 86
American Cinematographer - March 2017 - 87
American Cinematographer - March 2017 - 88
American Cinematographer - March 2017 - Cover3
American Cinematographer - March 2017 - Cover4
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