American Cinematographer - April 2015 - 79

The first part, revealing the henchman
opening the gate, was shot at a big
pond. [The second part, during which
the torrent of water sweeps through the
open gate and down into the trough,
was built as an exterior set next to the
Rockwork Grove location at Black
Park.] James Merifield laid a platform
[resembling a sidewalk] so that dolly
tracks could be laid next to - and level
with - the rushing water. A jib arm
extended from the dolly to allow me to
have full flexibility to dip up, down and
across the water.
The B-camera was rigged on an
Amphibian remote head on a 30-foot
Technocrane, which was placed facing
the open sluice gate [with the water
rushing toward it]. We protected the
camera in an underwater housing that
enabled us to dunk it into the water.
There are some really tight
close-ups in the film. Did you use
macro lenses?
Kuras: Those are actually longlens shots. I used the Angenieux 24290mm on the shot of Le Notre
walking through the garden at Sabine's
house. It's nighttime and he drops by
unannounced to discuss her progress on
the Rockwork Grove. While waiting for
her, he walks into her garden for the first
time. I wanted to shoot it very impressionistically, to feel lyrical and luxurious
- to make us feel like we were discovering the gardens along with Le Notre.
I consulted with James before he
built the set and told him I wanted to
lay a straight track the length of the
garden - not down the center of the
garden, but rather on the outer edge of
the vegetation, so that the camera could
effectively dolly through all the plants
and flowers. For the sequence with Le
Notre, I was on the longer end of the
zoom most of the time, so that Le
Notre is in focus while all the foreground greenery is out of focus. It
created a very intimate feeling. I warned
Iain to be prepared because I might
intuitively tilt up to André's face or [rack
to] a foreground flower as we were
dollying along with Le Notre. Thus, the
focus itself became a means of discovery



http://www.flugfilms.com http://www.flugfilms.com http://www.aadyntech.com http://www.aadyntech.com

American Cinematographer - April 2015

Table of Contents for the Digital Edition of American Cinematographer - April 2015

Contents
American Cinematographer - April 2015 - Intro
American Cinematographer - April 2015 - Cover1
American Cinematographer - April 2015 - Cover2
American Cinematographer - April 2015 - 1
American Cinematographer - April 2015 - 2
American Cinematographer - April 2015 - Contents
American Cinematographer - April 2015 - 4
American Cinematographer - April 2015 - 5
American Cinematographer - April 2015 - 6
American Cinematographer - April 2015 - 7
American Cinematographer - April 2015 - 8
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American Cinematographer - April 2015 - 64
American Cinematographer - April 2015 - I1
American Cinematographer - April 2015 - I2
American Cinematographer - April 2015 - I3
American Cinematographer - April 2015 - I4
American Cinematographer - April 2015 - I5
American Cinematographer - April 2015 - I6
American Cinematographer - April 2015 - I7
American Cinematographer - April 2015 - I8
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American Cinematographer - April 2015 - Cover3
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