American Cinematographer - October 2010 - 67

like a Who’s Who of contemporary Australian film.” Although Animal Kingdom focuses on violent criminals, Michôd and Arkapaw agreed that it was essential to present all the characters as real people. “One of the most important aspects of my job on this film was the close-ups,” notes Arkapaw. “It’s an old adage that that’s where a cinematographer earns his money, but in this film, the faces are really where the heart of the story lies.” Commenting on the film’s minimalistic style, he continues, “The tension in the story increases gradually and constantly, and we didn’t want that to be broken by flights of cinematic fancy. We decided the best way to achieve this was to develop a shooting style that allowed the actors as much freedom as possible. Animal Kingdom is an ensemble piece told, for the most part, from Jay’s point of view. We worked hard to find his perspective and configured the photography accordingly. Another consideration [in terms of the style] was that a lot of scenes have up to eight characters inhabiting the same space, so wherever possible, we had no lighting or grip hardware inside; this allowed the actors to explore and use the space. “David and I decided that every shot in the film should have a beginning, middle and end. By that I mean that we might start on a close-up of Ben with James in the background, and that then becomes a two-shot as Ben moves out of frame and Sullivan joins James in the background, and then it would become a close-up again, but this time of Jacki as she comes into shot at the end of the scene. This approach allowed the actors to get into a flow with their performances.” Arkapaw also strove to tailor his camerawork to the characters. “A simple example of this approach is that the rock-solid Leckie character was primarily shot in static frames,
www.theasc.com

Photos by Tony Mott, Narelle Sheean and Adam Arkapaw, courtesy of Sony Pictures Classics.

Opposite: Police officer Nathan Leckie (Guy Pearce, right) pays a surprise visit to Jay (James Frecheville) in his new and dangerous home. This page (top to bottom): Cody family matriarch Janine (Jacki Weaver) reassures her son Craig (Sullivan Stapleton) as her youngest son, Darren (Luke Ford), listens; cinematographer Adam Arkapaw (at camera) observes as director David Michôd preps a scene with Weaver and Laura Wheelwright, who plays Jay’s girlfriend; Janine, Baz (Joel Edgerton) and the family depart the restaurant.

October 2010

67


http://www.theasc.com

American Cinematographer - October 2010

Table of Contents for the Digital Edition of American Cinematographer - October 2010

American Cinematographer - October 2010
Contents
Editors Note
President’s Desk
Short Takes: “Lakairomania”
Production Slate: Enter the Void • Indie 3-D
With Friends Like These…
Zero-Sum Game
Bloody Valentine
Welcome to the Jungle
Post Focus: Advanced Digital Services
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - American Cinematographer - October 2010
American Cinematographer - October 2010 - Cover2
American Cinematographer - October 2010 - 1
American Cinematographer - October 2010 - 2
American Cinematographer - October 2010 - Contents
American Cinematographer - October 2010 - 4
American Cinematographer - October 2010 - 5
American Cinematographer - October 2010 - 6
American Cinematographer - October 2010 - 7
American Cinematographer - October 2010 - Editors Note
American Cinematographer - October 2010 - 9
American Cinematographer - October 2010 - President’s Desk
American Cinematographer - October 2010 - 11
American Cinematographer - October 2010 - Short Takes: “Lakairomania”
American Cinematographer - October 2010 - 13
American Cinematographer - October 2010 - 14
American Cinematographer - October 2010 - 15
American Cinematographer - October 2010 - 16
American Cinematographer - October 2010 - 17
American Cinematographer - October 2010 - Production Slate: Enter the Void • Indie 3-D
American Cinematographer - October 2010 - 19
American Cinematographer - October 2010 - 20
American Cinematographer - October 2010 - 21
American Cinematographer - October 2010 - 22
American Cinematographer - October 2010 - 23
American Cinematographer - October 2010 - 24
American Cinematographer - October 2010 - 25
American Cinematographer - October 2010 - 26
American Cinematographer - October 2010 - 27
American Cinematographer - October 2010 - With Friends Like These…
American Cinematographer - October 2010 - 29
American Cinematographer - October 2010 - 30
American Cinematographer - October 2010 - 31
American Cinematographer - October 2010 - 32
American Cinematographer - October 2010 - 33
American Cinematographer - October 2010 - 34
American Cinematographer - October 2010 - 35
American Cinematographer - October 2010 - 36
American Cinematographer - October 2010 - 37
American Cinematographer - October 2010 - 38
American Cinematographer - October 2010 - 39
American Cinematographer - October 2010 - 40
American Cinematographer - October 2010 - 41
American Cinematographer - October 2010 - Zero-Sum Game
American Cinematographer - October 2010 - 43
American Cinematographer - October 2010 - 44
American Cinematographer - October 2010 - 45
American Cinematographer - October 2010 - 46
American Cinematographer - October 2010 - 47
American Cinematographer - October 2010 - 48
American Cinematographer - October 2010 - 49
American Cinematographer - October 2010 - 50
American Cinematographer - October 2010 - 51
American Cinematographer - October 2010 - 52
American Cinematographer - October 2010 - 53
American Cinematographer - October 2010 - Bloody Valentine
American Cinematographer - October 2010 - 55
American Cinematographer - October 2010 - 56
American Cinematographer - October 2010 - 57
American Cinematographer - October 2010 - 58
American Cinematographer - October 2010 - 59
American Cinematographer - October 2010 - 60
American Cinematographer - October 2010 - 61
American Cinematographer - October 2010 - 62
American Cinematographer - October 2010 - 63
American Cinematographer - October 2010 - 64
American Cinematographer - October 2010 - 65
American Cinematographer - October 2010 - Welcome to the Jungle
American Cinematographer - October 2010 - 67
American Cinematographer - October 2010 - 68
American Cinematographer - October 2010 - 69
American Cinematographer - October 2010 - 70
American Cinematographer - October 2010 - 71
American Cinematographer - October 2010 - Post Focus: Advanced Digital Services
American Cinematographer - October 2010 - 73
American Cinematographer - October 2010 - 74
American Cinematographer - October 2010 - 75
American Cinematographer - October 2010 - 76
American Cinematographer - October 2010 - 77
American Cinematographer - October 2010 - New Products & Services
American Cinematographer - October 2010 - 79
American Cinematographer - October 2010 - 80
American Cinematographer - October 2010 - 81
American Cinematographer - October 2010 - 82
American Cinematographer - October 2010 - 83
American Cinematographer - October 2010 - 84
American Cinematographer - October 2010 - 85
American Cinematographer - October 2010 - International Marketplace
American Cinematographer - October 2010 - 87
American Cinematographer - October 2010 - Ad Index
American Cinematographer - October 2010 - 89
American Cinematographer - October 2010 - Clubhouse News
American Cinematographer - October 2010 - 91
American Cinematographer - October 2010 - ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - Cover3
American Cinematographer - October 2010 - Cover4
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