American Cinematographer - July 2021 - 63

AMERICAN CINEMATOGRAPHER ASCMAG.COM
Left: Rebel uses her wit to help witness Jason Erickson
(Dan Bucatinsky). Right: Cool light bathes Rebel's soon-tobe
ex-husband Grady Bello (John Corbett).
" Rebel's color is red, and her family and the people closest
to her are on the 'warm' spectrum. "
example of color, or lack of color, reflecting an event or action in the
story. Helen [Mary McDonnell], one of the main plaintiffs against the
Stonemore Corp., is very ill and lying in a dark bedroom during the
day, because she has chronic migraines and can't take bright daylight.
I wanted to show her pain through darkness and desaturation. I used
small HMIs to give the room a cold, sickly feel. To enhance Helen's deteriorating
condition, I used M18s, M8s and a Jo-Leko from the outside of
the set to give the room a daytime feel, and a special eyelight with a daylight
bulb for Helen's sensitive eyes. I barely wanted to see Helen's and
Rebel's faces. All I needed was a glint of light in the women's eyes. My
longtime DIT, Sam Ashley McConville, helped me to cool and desaturate
the scene so that it was almost monochromatic.
" Rebel was my maiden voyage with the Sony Venice camera, MasterBuilt
lenses and Sony a7S III, " Dos Reis adds. " I chose the MasterBuilts
because of their vintage softness and gradual focus falloff for my leading
lady. " The Sony a7S III was employed for time-lapse photography of
Los Angeles exteriors, and for transitions between scenes. " I despise the
typical TV show that uses an establishing shot of a law-firm exterior and
then cuts to a scene inside the building as a transitional shot. Almost
every day on location, I would send my C-camera team out with my a7S
III to set up a time-lapse shot of Los Angeles to serve as a bridge or transitional
shot for the show when going from location to location. "
Brockovich's life also provided inspiration for the 2000 feature Erin
Brockovich, directed by Steven Soderbergh and shot by Edward Lachman,
ASC. During prep on Rebel, director Marc Webb and Dos Reis discussed
Lachman's photography on that film. " We loved his use of warmth in
the depiction of Los Angeles and the California desert, where the plaintiffs
lived, " Dos Reis says. " Soderbergh used water as a visual motif, because
that is how the people of Hinkley were getting poisoned by PG&E.
In Rebel, Rebel and her law firm are representing people who have been
given faulty heart valves. I convinced the producers and the art department
to use the heart symbol as our visual motif, and to include hearts
in every episode and in many forms - such as artwork, coffee cups and
candy. "
- Samantha Dillard
JULY 2021 / 63

http://www.ASCMAG.COM

American Cinematographer - July 2021

Table of Contents for the Digital Edition of American Cinematographer - July 2021

Contents
American Cinematographer - July 2021 - Cover1
American Cinematographer - July 2021 - Cover2
American Cinematographer - July 2021 - 1
American Cinematographer - July 2021 - Contents
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