American Cinematographer - March 2022 - 45

AMERICAN CINEMATOGRAPHER ASCMAG.COM
Top, from left: Director Paul Schrader, cinematographer Alexander Dynan
and 1st AD Martin Jedlicka on set. Bottom: Dynan eyes a shot of the
poker table as key grip Bill Hilferty takes the measurement.
evolution of Arri's 35mm-format Master Prime lenses, " he says. " [DNA
LFs] are lighter-weight and they're faster. They're great workhorses. "
The cinematographer notes the deliberate focus work that he and
Schrader did - with the aid of 1st AC Timothée Arene - in isolating
Isaac from his environment when the actor leans toward the camera,
and blending him in with the background when he leans back. " Focus in
[the larger LF format] has a shallower depth of field than what you'd see
in Super 35, " the cinematographer says. " At T2, the background became
too impressionistic, whereas at T5.6 it was sometimes too deep. It all
depends on the focal length and what feels right for the story. "
Capturing Austerity
Once he's released, and no longer within the rigid structure of the prison
system, Tell finds comfort in the repetitive, austere nature of casino life
- the same tables, carpet patterns, wallpaper and games wherever he
goes. As when he was incarcerated, the repetition and sameness of Tell's
life has an arresting effect on the passage of time. " During production, as
Paul and I went from casino to casino around the South, the monotony
of that world started to set in, " Dynan recalls. " Paul liked the idea that
Tell was floating from one non-space to another non-space, so as we
MARCH 2022 / 45
" We're trying
to get the
viewer to lean
in and explore
the image. "

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American Cinematographer - March 2022

Table of Contents for the Digital Edition of American Cinematographer - March 2022

Contents
American Cinematographer - March 2022 - Cover1
American Cinematographer - March 2022 - Cover2
American Cinematographer - March 2022 - 1
American Cinematographer - March 2022 - Contents
American Cinematographer - March 2022 - 3
American Cinematographer - March 2022 - 4
American Cinematographer - March 2022 - 5
American Cinematographer - March 2022 - 6
American Cinematographer - March 2022 - 7
American Cinematographer - March 2022 - 8
American Cinematographer - March 2022 - 9
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American Cinematographer - March 2022 - 18
American Cinematographer - March 2022 - 19
American Cinematographer - March 2022 - 20
American Cinematographer - March 2022 - 21
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American Cinematographer - March 2022 - 27
American Cinematographer - March 2022 - 28
American Cinematographer - March 2022 - 29
American Cinematographer - March 2022 - 30
American Cinematographer - March 2022 - 31
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American Cinematographer - March 2022 - 33
American Cinematographer - March 2022 - 34
American Cinematographer - March 2022 - 35
American Cinematographer - March 2022 - 36
American Cinematographer - March 2022 - 37
American Cinematographer - March 2022 - 38
American Cinematographer - March 2022 - 39
American Cinematographer - March 2022 - 40
American Cinematographer - March 2022 - 41
American Cinematographer - March 2022 - 42
American Cinematographer - March 2022 - 43
American Cinematographer - March 2022 - 44
American Cinematographer - March 2022 - 45
American Cinematographer - March 2022 - 46
American Cinematographer - March 2022 - 47
American Cinematographer - March 2022 - 48
American Cinematographer - March 2022 - 49
American Cinematographer - March 2022 - 50
American Cinematographer - March 2022 - 51
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American Cinematographer - March 2022 - 55
American Cinematographer - March 2022 - 56
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American Cinematographer - March 2022 - 58
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American Cinematographer - March 2022 - 60
American Cinematographer - March 2022 - 61
American Cinematographer - March 2022 - 62
American Cinematographer - March 2022 - 63
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American Cinematographer - March 2022 - 71
American Cinematographer - March 2022 - 72
American Cinematographer - March 2022 - Cover3
American Cinematographer - March 2022 - Cover4
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