American Cinematographer - November, 2010 - 45
Left: Carlos enjoys some female companionship during a break from his operations. Below: The terrorist challenges one of his most efficient operatives, Brigitte Kuhlmann (Katharina Schüttler), to prove her marksmanship.
daughter. At that point, Denis Lenoir, ASC, AFC, stepped in for the second half of the shooting schedule. Both cinematographers had worked with Assayas before; Lenoir had shot seven previous features for the director (including Demonlover; AC Sept. ’03), and Le Saux was the second-unit director of photography on two of those films, as well as the director of photography on Boarding Gate. Lenoir recalls that one of the jokes on the set was that the only difference between the two cinematographers’ lighting was that “Yorick will put a bright practical light in the background behind Carlos.” In reality, it is impossible to distinguish which sequences were lit and shot by Lenoir or Le Saux. Each cinematographer shot about half the footage, and each did his own operating. Such stylistic unity, says Lenoir, proves that cinematography “is made by the director.” Carlos was shot in 2-perf Super 35mm with Kodak negative. Le Saux explains that he and Assayas chose to shoot film “because we wanted to work very fast and light very little, and we had to shoot sunny day exteriors in all
these different countries. Digital is good when can you control the light, but you can’t work ‘rock ’n’ roll’ in digital.” Although the filmmakers considered Super 16mm, they opted for 35mm in part because the Aaton Penelope camera had just come out, providing an ideal handheld tool. In addition, 2-perf was perfectly suited to the 2.40:1 frame they wanted to
ww.theasc.com w
compose, and the magazines run longer than 16mm mags, a plus in light of Assayas’ penchant for long takes. A Panaflex Platinum served as the B camera for some action sequences and intense dialogue sequences, like the restaurant dinner with Carlos and his first wife, Juana Acosta, early in the film. The camera gear package, provided by Panavision Alga Techno in
November 2010 45
http://ww.theasc.com
American Cinematographer - November, 2010
Table of Contents for the Digital Edition of American Cinematographer - November, 2010
American Cinematographer - November 2010
Contents
Editor’s Note
President’s Desk
Short Takes: “Sextape”
Production Slate: The LXD • Monsters
Horse Power
The World’s Most Wanted Man
A Modern Romance
King of Cool
Primetime Artistry
Post Focus: New Hat
Tricks of the Trade
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Phedon Papamichael
American Cinematographer - November, 2010 - American Cinematographer - November 2010
American Cinematographer - November, 2010 - Cover2
American Cinematographer - November, 2010 - 1
American Cinematographer - November, 2010 - 2
American Cinematographer - November, 2010 - Contents
American Cinematographer - November, 2010 - 4
American Cinematographer - November, 2010 - 5
American Cinematographer - November, 2010 - 6
American Cinematographer - November, 2010 - 7
American Cinematographer - November, 2010 - Editor’s Note
American Cinematographer - November, 2010 - 9
American Cinematographer - November, 2010 - President’s Desk
American Cinematographer - November, 2010 - 11
American Cinematographer - November, 2010 - Short Takes: “Sextape”
American Cinematographer - November, 2010 - 13
American Cinematographer - November, 2010 - 14
American Cinematographer - November, 2010 - 15
American Cinematographer - November, 2010 - 16
American Cinematographer - November, 2010 - 17
American Cinematographer - November, 2010 - Production Slate: The LXD • Monsters
American Cinematographer - November, 2010 - 19
American Cinematographer - November, 2010 - 20
American Cinematographer - November, 2010 - 21
American Cinematographer - November, 2010 - 22
American Cinematographer - November, 2010 - 23
American Cinematographer - November, 2010 - 24
American Cinematographer - November, 2010 - 25
American Cinematographer - November, 2010 - 26
American Cinematographer - November, 2010 - 27
American Cinematographer - November, 2010 - 28
American Cinematographer - November, 2010 - 29
American Cinematographer - November, 2010 - Horse Power
American Cinematographer - November, 2010 - 31
American Cinematographer - November, 2010 - 32
American Cinematographer - November, 2010 - 33
American Cinematographer - November, 2010 - 34
American Cinematographer - November, 2010 - 35
American Cinematographer - November, 2010 - 36
American Cinematographer - November, 2010 - 37
American Cinematographer - November, 2010 - 38
American Cinematographer - November, 2010 - 39
American Cinematographer - November, 2010 - 40
American Cinematographer - November, 2010 - 41
American Cinematographer - November, 2010 - The World’s Most Wanted Man
American Cinematographer - November, 2010 - 43
American Cinematographer - November, 2010 - 44
American Cinematographer - November, 2010 - 45
American Cinematographer - November, 2010 - 46
American Cinematographer - November, 2010 - 47
American Cinematographer - November, 2010 - 48
American Cinematographer - November, 2010 - 49
American Cinematographer - November, 2010 - 50
American Cinematographer - November, 2010 - 51
American Cinematographer - November, 2010 - 52
American Cinematographer - November, 2010 - 53
American Cinematographer - November, 2010 - A Modern Romance
American Cinematographer - November, 2010 - 55
American Cinematographer - November, 2010 - 56
American Cinematographer - November, 2010 - 57
American Cinematographer - November, 2010 - 58
American Cinematographer - November, 2010 - 59
American Cinematographer - November, 2010 - 60
American Cinematographer - November, 2010 - 61
American Cinematographer - November, 2010 - 62
American Cinematographer - November, 2010 - 63
American Cinematographer - November, 2010 - King of Cool
American Cinematographer - November, 2010 - 65
American Cinematographer - November, 2010 - 66
American Cinematographer - November, 2010 - 67
American Cinematographer - November, 2010 - 68
American Cinematographer - November, 2010 - 69
American Cinematographer - November, 2010 - 70
American Cinematographer - November, 2010 - 71
American Cinematographer - November, 2010 - 72
American Cinematographer - November, 2010 - 73
American Cinematographer - November, 2010 - 74
American Cinematographer - November, 2010 - 75
American Cinematographer - November, 2010 - 76
American Cinematographer - November, 2010 - 77
American Cinematographer - November, 2010 - 78
American Cinematographer - November, 2010 - 79
American Cinematographer - November, 2010 - Primetime Artistry
American Cinematographer - November, 2010 - 81
American Cinematographer - November, 2010 - Post Focus: New Hat
American Cinematographer - November, 2010 - 83
American Cinematographer - November, 2010 - 84
American Cinematographer - November, 2010 - 85
American Cinematographer - November, 2010 - Tricks of the Trade
American Cinematographer - November, 2010 - 87
American Cinematographer - November, 2010 - New Products & Services
American Cinematographer - November, 2010 - 89
American Cinematographer - November, 2010 - 90
American Cinematographer - November, 2010 - 91
American Cinematographer - November, 2010 - 92
American Cinematographer - November, 2010 - 93
American Cinematographer - November, 2010 - International Marketplace
American Cinematographer - November, 2010 - 95
American Cinematographer - November, 2010 - Ad Index
American Cinematographer - November, 2010 - 97
American Cinematographer - November, 2010 - Clubhouse News
American Cinematographer - November, 2010 - 99
American Cinematographer - November, 2010 - ASC Close-Up: Phedon Papamichael
American Cinematographer - November, 2010 - Cover3
American Cinematographer - November, 2010 - Cover4
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