American Cinematographer - May 2018 - 32
◗
Don't Speak
Right: Christensen
frames the action
for a scene in
which the children
seek sanctuary
atop one of the
farm's silos. Below
left: Marcus and
Regan's
predicament
worsens when
they find
themselves
trapped inside the
silo. Below right:
The camera is
moved into place
for a shot of
Krasinski atop
the silo.
very important to me: when they feel like
a family and when they feel more separate. The wider lens captured the family
as a whole, while the closer lens showed
them as individuals."
Christensen notes that Krasinski
wanted the film to have a sense of nearly
constant movement. "Even the wider
establishing shots included subtle moves
to make everything feel slightly unsettled and to create a hint of claustrophobia," she says.
The biggest setup in the movie
takes place at night in one of the cornfields. Family members are scattered
across the farm, trying to locate one
another but unable to shout out. A terrified Marcus, his flashlight bouncing
wildly, runs through tall rows of corn
32
May 2018
that tower over him. David Emmerichs,
who served as Steadicam/B-camera
operator and 2nd-unit director of
photography, donned safety goggles,
grabbed the stripped-down Arriflex 235
fitted with a 40mm Super Speed, raised
it to chest level, and charged after the
boy. He operated off a video monitor
attached to a shoulder strap. "That
running shot was achieved through
brute force," Emmerichs attests. When
told that Christensen praised him as "a
ninja," Emmerichs wryly notes, "Not
quite as ninja as she suggests. I did pretty
well until I was doing Marcus' POV, and
my feet found an electrical box hidden
deep in the corn. The camera and I
found the ground pretty quickly, and my
face found the camera.
American Cinematographer
"B-camera 1st AC Paul
Colangelo did a remarkable job pulling
focus on those shots," Emmerichs
continues, "especially when you consider
the fact he was running down a parallel
row of corn and could barely see us. And,
of course, he had to try and remain
upright as well."
Christensen and her team were on
a 50' Technocrane for parts of the cornfield sequence. The Angenieux 1540mm and 28-76mm zooms were used
for most of the film's night-exterior
crane shots, of which there were many.
"That particular cornfield sequence is
one long scene with many different
parts," she says. "I was able to get big,
wide shots across the field, showing
where on the farm the different charac-
Table of Contents for the Digital Edition of American Cinematographer - May 2018
Contents
American Cinematographer - May 2018 - Cover1
American Cinematographer - May 2018 - Cover2
American Cinematographer - May 2018 - 1
American Cinematographer - May 2018 - 2
American Cinematographer - May 2018 - Contents
American Cinematographer - May 2018 - 4
American Cinematographer - May 2018 - 5
American Cinematographer - May 2018 - 6
American Cinematographer - May 2018 - 7
American Cinematographer - May 2018 - 8
American Cinematographer - May 2018 - 9
American Cinematographer - May 2018 - 10
American Cinematographer - May 2018 - 11
American Cinematographer - May 2018 - 12
American Cinematographer - May 2018 - 13
American Cinematographer - May 2018 - 14
American Cinematographer - May 2018 - 15
American Cinematographer - May 2018 - 16
American Cinematographer - May 2018 - 17
American Cinematographer - May 2018 - 18
American Cinematographer - May 2018 - 19
American Cinematographer - May 2018 - 20
American Cinematographer - May 2018 - 21
American Cinematographer - May 2018 - 22
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American Cinematographer - May 2018 - 24
American Cinematographer - May 2018 - 25
American Cinematographer - May 2018 - 26
American Cinematographer - May 2018 - 27
American Cinematographer - May 2018 - 28
American Cinematographer - May 2018 - 29
American Cinematographer - May 2018 - 30
American Cinematographer - May 2018 - 31
American Cinematographer - May 2018 - 32
American Cinematographer - May 2018 - 33
American Cinematographer - May 2018 - 34
American Cinematographer - May 2018 - 35
American Cinematographer - May 2018 - 36
American Cinematographer - May 2018 - 37
American Cinematographer - May 2018 - 38
American Cinematographer - May 2018 - 39
American Cinematographer - May 2018 - 40
American Cinematographer - May 2018 - 41
American Cinematographer - May 2018 - 42
American Cinematographer - May 2018 - 43
American Cinematographer - May 2018 - 44
American Cinematographer - May 2018 - 45
American Cinematographer - May 2018 - 46
American Cinematographer - May 2018 - 47
American Cinematographer - May 2018 - 48
American Cinematographer - May 2018 - 49
American Cinematographer - May 2018 - 50
American Cinematographer - May 2018 - 51
American Cinematographer - May 2018 - 52
American Cinematographer - May 2018 - 53
American Cinematographer - May 2018 - 54
American Cinematographer - May 2018 - 55
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American Cinematographer - May 2018 - 60
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American Cinematographer - May 2018 - 62
American Cinematographer - May 2018 - 63
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American Cinematographer - May 2018 - 67
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American Cinematographer - May 2018 - 70
American Cinematographer - May 2018 - 71
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American Cinematographer - May 2018 - 73
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American Cinematographer - May 2018 - 78
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American Cinematographer - May 2018 - 88
American Cinematographer - May 2018 - Cover3
American Cinematographer - May 2018 - Cover4
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