American Cinematographer - July 2011 - 14

Production Slate
he surrounds himself with to do their jobs. He’s more of an actor’s director and a storyteller. He’s not the kind of director who comes to you in the morning and says, ‘Today we’re going to shoot at 37.5 fps, and I need this very complex camera move here….’ It was a very playful but very concentrated set, with no unnecessary problems at all. “I’ve been lucky to have this kind of shooting experience several times in my professional life. Sometimes the people are wonderful but the weather is ghastly, but we shot Larry Crowne in Los Angeles, so the weather was perfect, too!” Rousselot says he typically does not previsualize a look for a project, “especially before I talk to the director. There are projects where you have to plan things on a technical level, of course, but in general I try not to decide on any particular look too early in the process. I’ve found that you can intellectualize the look and style of the film all you want in preproduction, but when you get to the day Sparks fly between Larry Crowne (Tom Hanks) and his public-speaking of the shoot, those ideas often mean nothing. So I try to stay away instructor, Mercedes Tainot (Julia Roberts), in Larry Crowne, directed by Hanks and shot by Philippe Rousselot, ASC, AFC. from that cerebral construction and see what develops on set.” The filmmakers decided to shoot anamorphic 2.40:1, a Crafting a “Gentle” Look somewhat unconventional choice for a romantic comedy. “What I By Jay Holben like about anamorphic is that it gives the actors a lot of presence,” says Rousselot. “I really prefer the widescreen format, either Super Larry Crowne (Tom Hanks) is an Average Joe. He works hard. 35 or anamorphic, but the advantage of anamorphic is that you He enjoys life. Since completing a stint in the U.S. Navy, he has been double your focal length — you’re always double wide of the same working at U-Mart, where he has earned Employee of the Month lens in spherical. This is a real advantage, especially on location, as status a record nine times. But when the store must trim its budget, you can’t always push out a wall or back up enough to get the feel Crowne is laid off — because, his boss says, he has no college of the location. With anamorphic lenses, that’s built in, which means degree. Crowne goes back to school to jump-start a new phase of you can also use longer lenses to help separate the actors from the his life. There, he meets Mercedes (Julia Roberts), a burnt-out public- background and give them more presence in the frame. For me, speaking instructor, sparking a relationship that could change both romantic comedies are all about the actors, and giving them the of their lives. most presence in the frame is of paramount importance.” Larry Crowne marks a return to the director’s chair for Hanks, Rousselot chose Panavision’s G-Series anamorphic lenses, who tapped Philippe Rousselot, ASC, AFC to shoot the comedy. “I’m which “are very good lenses, and were particularly great for this generally not that attracted to comedies, but this sounded like an movie because of their size. I knew we were going to shoot a lot of incredibly fun project,” says Rousselot. “I also have good relationSteadicam, and the G-series lenses are well suited to that, so we ships with many of the people involved, including Julia Roberts, didn’t have to rent a separate set [of lenses] for Steadicam work.” whom I worked with on Mary Reilly; the assistant director, Katterli He chose two Kodak Vision3 stocks, 500T 5219 and 250D Frauenfelder, a dear friend of mine; and the production designer, 5207, which have both become favorites of his. “The more I use Victor Kempster, a good friend with whom I’d never had a chance them, the better I am with them,” he notes. “When I constantly use to work. Larry Crowne afforded me the chance to collaborate with the same stocks, knowing how they’ll react in any given situation all of these people. becomes instinctual. I don’t need to test or experiment or wonder; I “In all, this was a really pleasurable film to work on,” the cine- don’t have to think about my contrast or what I might lose in the matographer continues. “The atmosphere every day was very easyshade. I used [Kodak Vision2 500T] 5218 for a very long time, and I going, and the work was very straightforward. We even finished a think 5219 is a significant improvement over what was already a week ahead of schedule because everything went so smoothly! Tom great stock. I’ve been shooting with 5219 since it came out. Both and Julia were there before call and extremely prepared. As a direc[5218 and 5219] allow me to build contrast on the film. Because I tor, Tom is very efficient; he doesn’t waste time thinking about things tend to light softly, I like stocks that can give me some contrast.” that aren’t important to what is being shot, and he trusts the people Well known for his use of soft light, particularly Chinese

I

14

July 2011

American Cinematographer

Larry Crowne photos by Bruce Talamon, courtesy of Universal Pictures.



American Cinematographer - July 2011

Table of Contents for the Digital Edition of American Cinematographer - July 2011

American Cinematographer - July 2011
Contents
Editor’s Note
President’s Desk
Letters
Production Slate: Larry Crowne • Mortal Kombat
Monster Out of the Box
Ring of Power
Shot Down in Flames
A Cultural Cataclysm
Ascending Cinematography’s Summit
Post Focus: Prime Focus New York
Filmmakers’ Forum: Jim Matlosz
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Gerald Perry Finnerman, ASC
Clubhouse News
ASC Close-Up: Bruno Delbonnel
American Cinematographer - July 2011 - American Cinematographer - July 2011
American Cinematographer - July 2011 - Cover2
American Cinematographer - July 2011 - 1
American Cinematographer - July 2011 - 2
American Cinematographer - July 2011 - Contents
American Cinematographer - July 2011 - 4
American Cinematographer - July 2011 - 5
American Cinematographer - July 2011 - 6
American Cinematographer - July 2011 - 7
American Cinematographer - July 2011 - Editor’s Note
American Cinematographer - July 2011 - 9
American Cinematographer - July 2011 - President’s Desk
American Cinematographer - July 2011 - 11
American Cinematographer - July 2011 - Letters
American Cinematographer - July 2011 - 13
American Cinematographer - July 2011 - Production Slate: Larry Crowne • Mortal Kombat
American Cinematographer - July 2011 - 15
American Cinematographer - July 2011 - 16
American Cinematographer - July 2011 - 17
American Cinematographer - July 2011 - 18
American Cinematographer - July 2011 - 19
American Cinematographer - July 2011 - 20
American Cinematographer - July 2011 - 21
American Cinematographer - July 2011 - 22
American Cinematographer - July 2011 - 23
American Cinematographer - July 2011 - Monster Out of the Box
American Cinematographer - July 2011 - 25
American Cinematographer - July 2011 - 26
American Cinematographer - July 2011 - 27
American Cinematographer - July 2011 - 28
American Cinematographer - July 2011 - 29
American Cinematographer - July 2011 - 30
American Cinematographer - July 2011 - 31
American Cinematographer - July 2011 - 32
American Cinematographer - July 2011 - 33
American Cinematographer - July 2011 - 34
American Cinematographer - July 2011 - 35
American Cinematographer - July 2011 - Ring of Power
American Cinematographer - July 2011 - 37
American Cinematographer - July 2011 - 38
American Cinematographer - July 2011 - 39
American Cinematographer - July 2011 - 40
American Cinematographer - July 2011 - 41
American Cinematographer - July 2011 - 42
American Cinematographer - July 2011 - 43
American Cinematographer - July 2011 - 44
American Cinematographer - July 2011 - 45
American Cinematographer - July 2011 - Shot Down in Flames
American Cinematographer - July 2011 - 47
American Cinematographer - July 2011 - 48
American Cinematographer - July 2011 - 49
American Cinematographer - July 2011 - 50
American Cinematographer - July 2011 - 51
American Cinematographer - July 2011 - 52
American Cinematographer - July 2011 - 53
American Cinematographer - July 2011 - A Cultural Cataclysm
American Cinematographer - July 2011 - 55
American Cinematographer - July 2011 - 56
American Cinematographer - July 2011 - 57
American Cinematographer - July 2011 - 58
American Cinematographer - July 2011 - 59
American Cinematographer - July 2011 - 60
American Cinematographer - July 2011 - 61
American Cinematographer - July 2011 - Ascending Cinematography’s Summit
American Cinematographer - July 2011 - 63
American Cinematographer - July 2011 - 64
American Cinematographer - July 2011 - 65
American Cinematographer - July 2011 - 66
American Cinematographer - July 2011 - 67
American Cinematographer - July 2011 - 68
American Cinematographer - July 2011 - 69
American Cinematographer - July 2011 - Post Focus: Prime Focus New York
American Cinematographer - July 2011 - 71
American Cinematographer - July 2011 - Filmmakers’ Forum: Jim Matlosz
American Cinematographer - July 2011 - 73
American Cinematographer - July 2011 - 74
American Cinematographer - July 2011 - 75
American Cinematographer - July 2011 - New Products & Services
American Cinematographer - July 2011 - 77
American Cinematographer - July 2011 - 78
American Cinematographer - July 2011 - 79
American Cinematographer - July 2011 - International Marketplace
American Cinematographer - July 2011 - Classified Ads
American Cinematographer - July 2011 - Ad Index
American Cinematographer - July 2011 - 83
American Cinematographer - July 2011 - In Memoriam: Gerald Perry Finnerman, ASC
American Cinematographer - July 2011 - 85
American Cinematographer - July 2011 - Clubhouse News
American Cinematographer - July 2011 - 87
American Cinematographer - July 2011 - ASC Close-Up: Bruno Delbonnel
American Cinematographer - July 2011 - Cover3
American Cinematographer - July 2011 - Cover4
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