American Cinematographer - July 2015 - 67

The Super 16mm material was
captured on Kodak Vision3 200T 7213.
"Wes Anderson and I had previously
shot extensive 16mm stock tests for
Moonrise Kingdom [AC June '12],"
Yeoman says. "We liked the 7213 best
and shot the entire movie on it. On Love
& Mercy, I re-tested stocks and the
faster 7219 had a little too much grain
for us. The 7213 seemed right, although
it meant we needed a bit more light."
As for the aspect ratio, Yeoman
recalls, "I told [Pohlad] what I tell every
director: 'I love them all. What do you
think is best for the film?' In the end he
thought 1.85:1 was the way to go."
During Yeoman's six weeks of
preproduction, he and Pohlad watched
documentaries about Wilson and
searched out historical clips from the
Beach Boys' heyday. The cinematographer also regularly visited the art department, where production designer Keith
Cunningham put up pictures of Wilson,
the group, and the fashions and color
palettes of the times.
The band's story has been dramatized in the telefilm Summer Dreams:
The Story of the Beach Boys and the
miniseries The Beach Boys: An American
Family, but the filmmakers didn't look at
either. "I'm stubborn about that," Pohlad
says. "I didn't want to be affected by
[other films] one way or another. I
wanted to be more natural and do what
came from my experience and from
working with my collaborators, rather
than try to emulate or purposely avoid
the approach from something else."
Wilson's genius is front-andcenter during the scenes in which he's
seen producing Pet Sounds; the 23-yearold confidently directs a dozen top brass,
woodwind, string and keyboard players
- collectively referred to as "The
Wrecking Crew" - while laying down
the album's instrumental tracks. These
studio scenes were scheduled at the head
of the 35-day shoot that began in July
2013. The production shot in Studio 3
at EastWest Studios; formerly known as
Western Recorders, this studio space
was home to the actual Pet Sounds
sessions in 1966. The Wrecking Crew

Top: The Beach Boys harmonize for the album Pet Sounds. Middle and bottom: Yeoman and
director Bill Pohlad prepare to shoot two other recording sessions.

www.theasc.com

July 2015

67



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Table of Contents for the Digital Edition of American Cinematographer - July 2015

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
American Cinematographer - July 2015 - 6
American Cinematographer - July 2015 - 7
American Cinematographer - July 2015 - 8
American Cinematographer - July 2015 - 9
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