American Cinematographer - June 2017 - 101
was intact; nothing was brought in. We even
found the original tree where she picked the
crab apples, and we had the original stream
where she would get water.
Things happened at the right time.
The light came out at the right time, the
clouds came, and then it would start to
snow at the right time. Everything was in
sync and worked for us. We would be waiting for hours and then, all of a sudden, a bird
would arrive and then snow would arrive.
We were doing a crane move through the
woods, and the wind would blow and all the
leaves would come down right on cue. In
post I only did a little fine tuning to affect the
natural light.
Todd Wider: We all were very much
involved with the color correction. [The
grade was performed with Digital Vision
Nucoda by Sean R. Smith at TechnicolorPostWorks New York.]
This woman was so ill that she died
under a red blanket in a freezing house with
no electricity, starving to death simply
because she was unable to get up, walk out
of the room and leave. There were people
Co-director
Jedd Wider and
Puglia prepare
to shoot inside
the barn.
living only yards away. It's a tragedy about
being a prisoner of one's own mind; she died
so alone and seemingly so forgotten. We
wanted to make sure she is not forgotten. I
think that so often we tend to minimize the
value of those who are the most unfortunate
and most vulnerable. We wanted to bring a
measure of dignity back to a person who
died in a way in which her dignity was so
stripped away.
Puglia: We could not explain it, but
everyone was moved by it. We are all proud
of this very special film. At the end of the
day's shoot, when we would leave the
house, I would privately thank Linda for
allowing me to be a part of her life. In the
end, it came out so well because Linda's
presence is in the film. Everything worked in
a way [that was] like a religious experience.
●
101
http://www.mat-film.tv
Table of Contents for the Digital Edition of American Cinematographer - June 2017
Contents
American Cinematographer - June 2017 - Intro
American Cinematographer - June 2017 - Cover1
American Cinematographer - June 2017 - Cover2
American Cinematographer - June 2017 - 1
American Cinematographer - June 2017 - 2
American Cinematographer - June 2017 - Contents
American Cinematographer - June 2017 - 4
American Cinematographer - June 2017 - 5
American Cinematographer - June 2017 - 6
American Cinematographer - June 2017 - 7
American Cinematographer - June 2017 - 8
American Cinematographer - June 2017 - 9
American Cinematographer - June 2017 - 10
American Cinematographer - June 2017 - 11
American Cinematographer - June 2017 - 12
American Cinematographer - June 2017 - 13
American Cinematographer - June 2017 - 14
American Cinematographer - June 2017 - 15
American Cinematographer - June 2017 - 16
American Cinematographer - June 2017 - 17
American Cinematographer - June 2017 - 18
American Cinematographer - June 2017 - 19
American Cinematographer - June 2017 - 20
American Cinematographer - June 2017 - 21
American Cinematographer - June 2017 - 22
American Cinematographer - June 2017 - 23
American Cinematographer - June 2017 - 24
American Cinematographer - June 2017 - 25
American Cinematographer - June 2017 - 26
American Cinematographer - June 2017 - 27
American Cinematographer - June 2017 - 28
American Cinematographer - June 2017 - 29
American Cinematographer - June 2017 - 30
American Cinematographer - June 2017 - 31
American Cinematographer - June 2017 - 32
American Cinematographer - June 2017 - 33
American Cinematographer - June 2017 - 33A
American Cinematographer - June 2017 - 33B
American Cinematographer - June 2017 - 34
American Cinematographer - June 2017 - 35
American Cinematographer - June 2017 - 36
American Cinematographer - June 2017 - 37
American Cinematographer - June 2017 - 38
American Cinematographer - June 2017 - 39
American Cinematographer - June 2017 - 40
American Cinematographer - June 2017 - 41
American Cinematographer - June 2017 - 42
American Cinematographer - June 2017 - 43
American Cinematographer - June 2017 - 44
American Cinematographer - June 2017 - 45
American Cinematographer - June 2017 - 46
American Cinematographer - June 2017 - 47
American Cinematographer - June 2017 - 48
American Cinematographer - June 2017 - 49
American Cinematographer - June 2017 - 50
American Cinematographer - June 2017 - 51
American Cinematographer - June 2017 - 52
American Cinematographer - June 2017 - 53
American Cinematographer - June 2017 - 54
American Cinematographer - June 2017 - 55
American Cinematographer - June 2017 - 56
American Cinematographer - June 2017 - 57
American Cinematographer - June 2017 - 58
American Cinematographer - June 2017 - 59
American Cinematographer - June 2017 - 60
American Cinematographer - June 2017 - 61
American Cinematographer - June 2017 - 62
American Cinematographer - June 2017 - 63
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American Cinematographer - June 2017 - 65
American Cinematographer - June 2017 - 66
American Cinematographer - June 2017 - 67
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American Cinematographer - June 2017 - 79
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American Cinematographer - June 2017 - 81
American Cinematographer - June 2017 - 82
American Cinematographer - June 2017 - 83
American Cinematographer - June 2017 - 84
American Cinematographer - June 2017 - 85
American Cinematographer - June 2017 - 86
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American Cinematographer - June 2017 - 88
American Cinematographer - June 2017 - 89
American Cinematographer - June 2017 - 90
American Cinematographer - June 2017 - 91
American Cinematographer - June 2017 - 92
American Cinematographer - June 2017 - 93
American Cinematographer - June 2017 - 94
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American Cinematographer - June 2017 - 99
American Cinematographer - June 2017 - 100
American Cinematographer - June 2017 - 101
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American Cinematographer - June 2017 - 103
American Cinematographer - June 2017 - 104
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American Cinematographer - June 2017 - Cover3
American Cinematographer - June 2017 - Cover4
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