American Cinematographer - April 2017 - 44

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Between Heaven and Hell

Top: The camera is framed up for a scene between Emily (Lucy Griffiths) and her daughter Alice
(Madelyn Henderson). Middle: Actor Alex Knight (left, portraying Clive) chases after the camera.
Bottom: The crew lines up a low-angle shot for a jail-cell interior.

44

April 2017

American Cinematographer

thing. Balls to the wall!' He gave me all
the freedom in the world, which was
great."
Since Rogen and Goldberg had
directed the first episode, Grillo knew
what they expected visually in the
followup, "See." Grillo notes, "My job
was to continue from the pilot, enhance
it and bring my ideas into it. We had
nine other episodes to shoot and
encountered different situations and sets
from what they had in the pilot."
Most notable was the Old West
town of Ratwater - as Annville was
known circa 1881, according to
Preacher's mythos - which is the setting
of the Saint of Killers storyline that is
spread across four episodes. "The look
for that period gave me the opportunity
to do something from scratch," Grillo
says. Shot at a Western set outside of
Santa Fe, the scenes necessitated two
units working over four days. The studio
was skeptical about whether they could
pull it off, but Grillo credits Slovis for
making it happen.
Grillo was inspired by the eraappropriate photogravures of Edward S.
Curtis, known for his chronicling of
Native Americans. "His work has a
certain sepia tone, and I was looking
also at how the imperfection of the
lenses back then sometimes made aberrations on the edges of the frames," he
notes.
Realist Andrew Wyeth was
another influence. "He has paintings
that are very sparse, and the tones and
colors are very autumnal: ochre, brown
and beige," Grillo says. "I didn't want it
to feel like a reinterpretation of the Old
West with modern technology and 4K
cameras; I wanted to mess up the look
so it felt old. It's a town full of bad
people, and I wanted it to look screwedup, dirty and bloody."
He would fill the frame with
smoke and dust, and amplify the retro
atmosphere by using Panavision
PVintage lenses - re-housed Ultra
Speed Prime glass - with a chocolate
filter attached. "The chocolate desaturates the colors and enhances the dark
wood in the saloon and the Saint of



Table of Contents for the Digital Edition of American Cinematographer - April 2017

Contents
American Cinematographer - April 2017 - Intro
American Cinematographer - April 2017 - Cover1
American Cinematographer - April 2017 - Cover2
American Cinematographer - April 2017 - 1
American Cinematographer - April 2017 - 2
American Cinematographer - April 2017 - Contents
American Cinematographer - April 2017 - 4
American Cinematographer - April 2017 - 5
American Cinematographer - April 2017 - 6
American Cinematographer - April 2017 - 7
American Cinematographer - April 2017 - 8
American Cinematographer - April 2017 - 9
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American Cinematographer - April 2017 - 27
American Cinematographer - April 2017 - 28
American Cinematographer - April 2017 - 29
American Cinematographer - April 2017 - 30
American Cinematographer - April 2017 - 31
American Cinematographer - April 2017 - 32
American Cinematographer - April 2017 - 33
American Cinematographer - April 2017 - 34
American Cinematographer - April 2017 - 35
American Cinematographer - April 2017 - 35A
American Cinematographer - April 2017 - 35B
American Cinematographer - April 2017 - 36
American Cinematographer - April 2017 - 37
American Cinematographer - April 2017 - 38
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American Cinematographer - April 2017 - 40
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American Cinematographer - April 2017 - 43
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American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
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