American Cinematographer - March 2022 - 46

PASSING TIME
For Tell's nightmare about his experiences at Abu Ghraib prison,
the filmmakers employed an Entaniya 8mm T2.9 fisheye
(pictured with lens cap on) paired with a Red Helium camera.
" Paul wanted
the flashback
scenes to
feel like a VR
experience. "
shot, the use of a Steadicam started to creep into our language - using
the cinematography to reflect the character's circular journey. " Dynan
worked with A-camera and Steadicam operator Nick Müller to design
long following shots. And within still shots, Dynan notes that sometimes
" we'll move the camera ever so slightly to accentuate the moments when
the camera doesn't move. "
The filmmakers' goal is to distort the viewer's expectation of time and
compel them to " lean forward " by withholding action or information.
As Schrader writes later in his introduction, " The slow-cinema director
says, 'I know what you want; I know what you expect; but I'm going to do
the opposite.' Why? 'Because I'm after something else and will use your
expectations to get it. The filmmaker, instead of creating a film world
in which the viewer needs only to surrender, creates a world which the
spectator must contemplate - or reject out of hand. "
In regard to color schemes, " Production designer Ashley Fenton and
I talked a lot about the paint color in the motel rooms where Tell stays, "
Dynan says. They opted to paint the walls a very light gray, instead of
solid white, so that " Tell's gray world felt consistent throughout the film. "
Dynan worked with DIT Ian Edwards and colorist Tim Masick at
Company 3 New York to keep the film's palette within strict tolerances.
The poker scenes are particularly effective at highlighting The Card
Counter's focus on emotional austerity. For most of these sequences,
the cinematographer turned to two skirted Litegear LiteMat Spectrum
4s with egg crates and Light Grid or full diffusion. Meanwhile, closeups
of the players' faces reveal almost nothing; LiteMat Spectrum 2Ls
were floated in as eyelights, while Dynan and Schrader illustrated Tell's
" poker face " by deliberately withholding his. These sequences highlight
Tell as a man with an ability to hide what he's feeling - a skill that's
46 / MARCH 2022

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 - 20
American Cinematographer - March 2022 - 21
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American Cinematographer - March 2022 - 24
American Cinematographer - March 2022 - 25
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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
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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 - 72
American Cinematographer - March 2022 - Cover3
American Cinematographer - March 2022 - Cover4
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