American Cinematographer - June 2014 - 82
◗
Liberty's Injustice
The cast runs through a scene in which the magician Orlando (Jeremy Renner), Bruno's cousin, appears to levitate
during a performance at Ellis Island.
practical ceiling. Depending on the
time of day or desired ambient-light
levels, Khondji would have DeBlau
dim up one of the 6K space lights
hidden above the muslin - "only to
about 20 percent," notes DeBlau.
When light from a wall sconce or
another practical needed to be
extended further into the room,
Khondji used the overextended lip of
the false ceiling to bounce a 2K Blonde
or 750-watt Source Four Leko into the
room from outside the set.
"James was sometimes quite
specific about what he wanted in terms
of lighting," Khondji recalls. One
example is the shot of Ewa in bed
following one of her liaisons with a
man. As the john gets dressed, she lies
there, her eyes focused on a distant
point as low, late-afternoon light comes
through the window. "James wanted
shadows on her face, like a mesh or a
similar texture, to convey that she's a
82
June 2014
prisoner," says Khondji. Gray adds,
"The position of the light affects our
emotional response to the character
and how we perceive performance.
Ewa is in a compromised position, so
I didn't want to reveal her face
completely."
To achieve this effect, a curtain
of patterned material was suspended
above the bed on one side, and a 4'x4'
mirror was placed in the opposite
corner of the set so Cotillard could see
it from her position. A 750-watt
Source Four with a 19-degree lens
behind the set and above the bed was
bounced off the mirror and 15' back
through the curtain. "The added
distance of the Source Four in the
mirror and the closeness of the pattern
gave the shadows an extra sharpness,"
notes DeBlau.
Khondji used a similar approach
in the burlesque theater where Ewa
and other women perform in Bruno's
American Cinematographer
show. In addition to 12 6K space lights
overhead, the stage curtains were lit
with 1K Babies hanging from a rail
above the stage, while 1K Medium
Chimera pancake lights illuminated
stage left and right entrances. "The
stage itself had minimal toplight, and
for footlights we had about 40 of the
old Edison-style bulbs," says DeBlau.
"When we turned the camera around
to look at the audience, we turned the
footlights around as well."
Eventually, Eva locates her aunt
and uncle in Brooklyn. Their home was
a practical location in the East Village,
a narrow, four-floor walk-up with a
single room on each floor. The filmmakers were so taken by its authenticity that they decided to shoot the home
as it was. Khondji recalls, "Everyone
was very surprised that I wanted to
shoot there - they said, 'How can you
shoot in this space with anamorphic
lenses?' Generally, I don't like to use
American Cinematographer - June 2014
Table of Contents for the Digital Edition of American Cinematographer - June 2014
Contents
1
American Cinematographer - June 2014 - 1
American Cinematographer - June 2014 - Cover2
American Cinematographer - June 2014 - 1
American Cinematographer - June 2014 - 2
American Cinematographer - June 2014 - Contents
American Cinematographer - June 2014 - 4
American Cinematographer - June 2014 - 5
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American Cinematographer - June 2014 - S1
American Cinematographer - June 2014 - S2
American Cinematographer - June 2014 - S3
American Cinematographer - June 2014 - S4
American Cinematographer - June 2014 - S5
American Cinematographer - June 2014 - S6
American Cinematographer - June 2014 - S7
American Cinematographer - June 2014 - S8
American Cinematographer - June 2014 - S9
American Cinematographer - June 2014 - S10
American Cinematographer - June 2014 - S11
American Cinematographer - June 2014 - S12
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American Cinematographer - June 2014 - Cover3
American Cinematographer - June 2014 - Cover4
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