American Cinematographer - July 2014 - 78

◗

A Road Through Ruin

Top and Middle: For firelight scenes, Braier combined real fire with gelled Redheads that were run
separately through a flicker box and dimmer board. Bottom: The filmmakers painted the walls and
changed the color of the practical fluorescents for this hotel-room interior.

78

July 2014

American Cinematographer

dust and heat," she says. "It was like
losing men in war: 'Okay, one 18K is
down. So let's go to Plan B ... Plan C ...
Plan D.' By Marree, we were on Plan
M!"
Braier's strategy for day interiors
was relatively consistent, whether for the
diner, Grandma's room in the Hanging
Gardens Hotel, or the brother's house at
dawn. "We'd bounce those HMIs to offwhite cotton. If I had the stop, we'd also
filter it through some silks or curtains, so
it would be bounced and diffused. The
idea was to have this soft directional
light, quite contrasty with no fill, just
playing with pools of light and areas of
darkness." The soft lighting style
perfected by Roger Deakins, ASC, BSC
"is always a huge reference for me," notes
Braier.
To dirty up the light, Braier asked
Adcock to paint their bounce materials
with the same colors as the environment.
"We had a collection of five or six silks
that were my gaffer's Jackson Pollock
creative moment," she says. "Some were
more brownish, some more greenish."
Braier had an unexpected opportunity to play with colored light for a
larger night scene when a dramatic
motel sequence was switched from
daytime to night; the reason was to hide
a town that was deemed too pretty but
also too costly to degrade. "So we created
an island in the dark, and erased everything we didn't like," says the cinematographer. In this sequence, Eric and Rey
check into a motel. Momentarily left by
himself, Rey is frightened by a knock
and shoots through the door, killing an
innocent girl. A military trooper arrives
and fires at Rey's room, but Eric
approaches from behind and dispatches
the trooper.
"I had to think about simple and
cheap lighting I could manage with a
tight schedule and one gaffer, two sparks
[electricians] and one additional spark
for this scene," says Braier. "So I couldn't
have big night lighting setups."
Moonlight, for one, wasn't allowed. "The
concept had to serve the economy, and it
perfectly served the film anyway - this
kind of black canvas with isles of light,



American Cinematographer - July 2014

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American Cinematographer - July 2014 - Cover1
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American Cinematographer - July 2014 - 1
American Cinematographer - July 2014 - 2
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