American Cinematographer - April 2014 - 38
◗
Raging Waters
The filmmakers at work on location in Iceland.
the DI suite at Technicolor-PostWorks
New York as he and colorist Tim Stipan
put the final touches on Noah, and the
cinematographer discussed the project
during breaks from that work.
American Cinematographer:
38
April 2014
With the exception of The Wrestler,
you've shot every one of Aronofsky's
features. What has changed, and what
has stayed the same?
Matthew Libatique, ASC: I
know I'm always going to stay true to
American Cinematographer
how Darren works, which is largely
single camera and with motivated
camera moves. We were handheld on
Noah, but it wasn't like we were floating
from character to character in a vérité
style. I think we've matured as filmmakers and can focus on what's important,
which is subjectivity and storytelling.
We don't use zooms when we work
together, and we used Zeiss Ultra
Primes on this film because they have a
lot of options in the range Darren likes
to use. We mostly used the 24mm, the
50mm and the 85mm - something
wide, medium and long.
A handheld camera seems like
an unusual approach for an epic set in
that era.
Libatique: Darren is very particular about the camera. He wants something very controlled that also moves
fluidly and naturally. If the camera can
move with the actor's performance
without a device like a crane or dolly,
that's what we do. Because we were
going handheld, I wanted a lightweight
camera, so I chose the Arri LT. I love it
because it's simple to use in the
elements, which were, of course,
extreme. We could be in 30-mph winds,
20°F or 70°F and not have to worry
American Cinematographer - April 2014
Table of Contents for the Digital Edition of American Cinematographer - April 2014
Contents
American Cinematographer - April 2014 - Cover1
American Cinematographer - April 2014 - Cover2
American Cinematographer - April 2014 - 1
American Cinematographer - April 2014 - 2
American Cinematographer - April 2014 - Contents
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