American Cinematographer - December 2013 - S-5

Lee and Bobbitt decided to
use a variety of fi lm formats
to visually distinguish the
different threads of the story,
including 2-perf and 3-perf
35mm as well as Super 16.
drive you in very creative directions. Quite often, you're forced
by the location to situate cameras in places that you wouldn't
normally think of, with unusual and interesting compositions,
which can give an interesting feel to the fi lm. A lot of people
seem afraid of very small spaces. But I love a small space.
There's a reality to it."
Bobbitt's news and documentary background gives him an
unusual perspective on lighting as well. "For me, everything
comes from a reality," he says. "In something like Oldboy, you
take that reality and you twist it a little every once in a while.
This fi lm is not a representation of reality, but everything is
based in a reality, so I used a lot of practicals. I used a lot of
available light, where possible. My philosophy is if I can light it
with one light, I'll use one light. And
if I need more, I use more. So often,
if you can get a light in the right
place at the right intensity and the
right color, it'll do the job.
"Of course, the story starts to
dictate as well, where that light
should come from and how,"
Bobbitt continues. "The locations
as well can be clues about where
the light would realistically come
from and, dramatically, where it
would be best to put it. Using all of
those considerations, you reach a
synthesis, which hopefully gives you
a look."
While the new Oldboy pays homage to the original, it has its
own unique twists and turns, and its own character. "I've always
been a great fan of Spike's," Bobbitt says. "I think he's one of
America's few true auteur directors, very original, and with
humor, but at the same time, a great depth. The balance that he
shows is what makes him such a great director."
Photos: Far left: Elizabeth Olsen in Oldboy. Left center: Sean Bobbitt, BSC at the viewfinder.
Bottom: Spike Lee and Sean Bobbitt block a shot in Chinatown. Right top and right bottom:
Josh Brolin in Oldboy. (Photos Hilary Bronwyn Gayle. OB Productions, Inc. © 2012. All rights
reserved.
Processing and dailies for Oldboy were handled at Cineworks
in New Orleans. Bobbitt says that having the solid support of
local partners like Cineworks and Fletcher Camera & Lenses-
Louisiana are crucial to success, especially in a tax incentive
state and with a format like 2-perf. "Cineworks here in New
Orleans is fantastic," he says. "They are set up for 2-perf.
The dailies colorist Bradley Greer is a gem. I think this is the
future - small boutique laboratories giving you a very specifi c,
specialized service. I've done two fi lms now with them and
they're as good as any other that I've worked with on a project.
Fletcher Camera has a very skilled and dedicated team here as
well, and they worked very hard to ensure we had everything
we needed."

American Cinematographer - December 2013

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