American Cinematographer - October 2013 - 64

◗

Beyond the Law

The investigation takes its toll on Loki.

his hunt, which would mean almost
certain death for the trapped character.
This exterior sequence was staged in the
front yard of a ramshackle house, and
largely lit by boosted household practi-

64

cals and a series of police work lights
illuminating the outer area. “I struggled
with those last few shots of the film
because I was working with the idea of
how to light that house but also add

some tension,” Deakins recalls. “Then
we decided it would make sense for the
police to have rigged work lights, and
they could turn them off one by one as
they prepare to leave.”
In essence, the trapped character’s
chance of living dims as each of those
lights is extinguished. Deakins notes,
“I’ll always remember that wonderful
shot Connie Hall [ASC] did in Fat
City, when the aging boxer that Tully
[Stacy Keach] has just beaten is walking
down a passage, and they turn the lights
out as he goes through. I always thought
that was a wonderful shot, and I may
have had that in my mind.”
To create a base illumination for
the scene, the house’s porch lighting was
intensified with fluorescents until it
“became a kind of bowl of light that
could reach out into the yard just far
enough to light it to the edge of [the
cave’s location],” says the cinematographer. “But justifying having enough
light to get out there from the house was


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American Cinematographer - October 2013

Table of Contents for the Digital Edition of American Cinematographer - October 2013

Contents
American Cinematographer - October 2013 - Cover1
American Cinematographer - October 2013 - Cover2
American Cinematographer - October 2013 - 1
American Cinematographer - October 2013 - 2
American Cinematographer - October 2013 - Contents
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