American Cinematographer - March 2017 - 37
struggle with his addiction to heroin, so
for his scenes, Dod Mantle followed a
rule laid out in the first Trainspotting,
trying to keep the camera as close to the
ground as possible, sometimes with the
help of a low-angle prism. "It's the classic junkie stereotype of living on the
floor," the cinematographer explains.
Boyle encouraged Bremner to
take a loose, improvisational approach
to his performance, which in turn called
for a particular sensitivity with the
camera. "You have to step back and give
up some of your control," says Dod
Mantle. "It's less about hitting marks,
more about freedom."
Bremner remembers when he
and Dod Mantle first worked together,
on Harmony Korine's Dogme 95 film
Julien Donkey-Boy. "Every scene was
improvised," the actor recalls. "No scene
was shot in the same style, with the
same perspective, and it was like
Anthony knew what was going to
happen before it happened. He's very
much an operator as much as he's a
lighting cameraman. It really matters to
him that he's capturing a performance,
the poetry between two people. The
way he moves in relation to the actors,
it's like he's an actor himself."
To help strike the right balance of
creative freedom within the constraints
of their strictly regimented shooting
schedule, the filmmakers rolled multiple
cameras simultaneously. "I hesitate to
utilize the word 'coverage,'" Dod
Mantle notes, "but let's just say that we
needed a substantial amount of material
in a short time window, on days where
there could often be three or four
company moves."
Continuing
the
painting
metaphor, Dod Mantle often refers to
cameras as paintbrushes, in the way that
he mixes different formats to achieve
the desired effect. "I care less about the
camera and the format than what they
can do for me," he remarks. "It comes
down to economy, ergonomics, their
abilities as image-capture systems. It's
like big globs of paint and small globs of
paint on the canvas. Some can get me
into small corners and others are good
Above and left:
The production
captures shots of
Mark and Spud at
play. Below:
Multiple cameras
frame the action
for a scene in
which Begbie and
his son, Frank Jr.
(Scot Greenan,
standing at right,
holding
candelabra),
encounter a
homeowner
they're trying
to rob.
www.theasc.com
March 2017
37
http://www.theasc.com
American Cinematographer - March 2017
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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