American Cinematographer - November 2013 - 63

backgrounds" in footage shot against
greenscreen and against real backgrounds that needed to be replaced.
"This was a very unusual film,
and a very wet one," Zuccarini reflects.
"I felt very fortunate to have been
included in the inner creative circle."
DeMarco adds, "It was very
interesting to work with a script that
was only 32 pages long. It's all internal. The whole film is about Our Man
thinking and problem solving, or
simply enduring really horrible stuff.
The trick for me was to figure out
what emotion or story point we
should find in each scene. Is he just
battening down the hatches, or is
there more to that part of the story? I
constantly quizzed J.C. about the
emotional core of every scene, and we
placed the camera where it needed to
be and chose a focal length that would
depict that feeling or help convey the
character's thinking. That approach
was both fun and challenging, and we

didn't have any dialogue to cheat with
- All Is Lost is like a silent movie with
sound!
"Bob is great at internal acting,
and it was my job to complement his
skill - to tap into his inner monologue and conduct it into the heads
and hearts of the audience," he
concludes. "It was a thrill and a privilege to work with such an astute director and a legendary actor, as well as
producers Neal Dodson, Anna Gerb
and Josh Blum. It was my most exciting film experience to date."
‚óŹ

TECHNICAL SPECS
2.40:1
Digital Capture
Arri Alexa
Zeiss Standard Speed MKII,
Angenieux Optimo

63


http://www.jlfisher.com http://www.jlfisher.com http://www.jlfisher.de

American Cinematographer - November 2013

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

Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
American Cinematographer - November 2013 - 10
American Cinematographer - November 2013 - 11
American Cinematographer - November 2013 - 12
American Cinematographer - November 2013 - 13
American Cinematographer - November 2013 - 14
American Cinematographer - November 2013 - 15
American Cinematographer - November 2013 - 16
American Cinematographer - November 2013 - 17
American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
American Cinematographer - November 2013 - 20
American Cinematographer - November 2013 - 21
American Cinematographer - November 2013 - 22
American Cinematographer - November 2013 - 23
American Cinematographer - November 2013 - 24
American Cinematographer - November 2013 - 25
American Cinematographer - November 2013 - 26
American Cinematographer - November 2013 - 27
American Cinematographer - November 2013 - 28
American Cinematographer - November 2013 - 29
American Cinematographer - November 2013 - 30
American Cinematographer - November 2013 - 31
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American Cinematographer - November 2013 - 33
American Cinematographer - November 2013 - 34
American Cinematographer - November 2013 - 35
American Cinematographer - November 2013 - 36
American Cinematographer - November 2013 - 37
American Cinematographer - November 2013 - 38
American Cinematographer - November 2013 - 39
American Cinematographer - November 2013 - 40
American Cinematographer - November 2013 - 41
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American Cinematographer - November 2013 - 43
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American Cinematographer - November 2013 - 63
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American Cinematographer - November 2013 - 112
American Cinematographer - November 2013 - Cover3
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