American Cinematographer - December 2013 - S-6

HBO continues its run
of cinematic originals in
2014 with the eight-episode
series True Detective. Written
by acclaimed novelist Nic
Pizzolatto and set in southern
Louisiana, the series stars
Matthew McConaughey and
Woody Harrelson as two
detectives thrust together in
a 17-year search for a serial
killer.
Cary Fukunaga directs with
Australian cinematographer
Adam Arkapaw guiding the
visuals. Arkapaw, with the
features Lore, The Snowtown
Murders and Animal Kingdom
under his belt, recently
garnered an EMMY® Award
for his work on the 2013
series Top of the Lake.
How did you come on
board the True Detective
series?
Cary Fukunaga had seen
Animal Kingdom and Snowtown,
two features I had shot. We
met up in San Francisco for
lunch and saw eye to eye in
regards to True Detective. We
were two young guns cut from
a similar oak, and we also
had some mutual friends that
vouched for our goodness.
The story takes place in
Southern Louisiana; was the
series shot on location there?
It was a 110-day shooting
schedule, from January 2013
until the end of June. We shot
a large majority of the series
on location in New Orleans
and in the surrounding towns
and jungles. It's a wild place.
On one day of shooting
the wildlife folk pulled out
11 snakes and we saw two
gators. Also, the weather was
frightening at times.
Why was 35mm chosen as
opposed to another format?
Cary and I are both great
fi lm lovers. It has a special
texture. Our series takes
place in 1995 for the most
part, and fi lm helped us
achieve a slightly nostalgic
aesthetic. We wanted the
series to have an unaffected
quality to it, and fi lm has
a wonderful ability to
translate the best parts of
what catches an eye into
a beautiful image without
pushing or tweaking it too
much. Film is a very forgiving
veil. We had to shoot about
fi ve minutes of screen time a
day, so at times I was leaning
on the format pretty hard to
give me a provocative result.
What fi lm stocks did
you use?
We decided to keep it
simple and only use two
stocks. We used KODAK
VISION3 50D [Color
Negative Film] 5203 for all
exterior day scenes. I love
the latitude of that stock. You
can lift the shadows in the
grade and not feel the grain
too much. I also did some
pull-processing to lessen the
contrast on very sunny days.
We used [KODAK VISION3
500T Color Negative Film]_
5219 for everything else.
That's a great stock. The
grain is so tight these days
that there's no stress in
pushing it around a bit.

American Cinematographer - December 2013

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

Contents
American Cinematographer - December 2013 - Cover1
American Cinematographer - December 2013 - Cover2
American Cinematographer - December 2013 - Contents
American Cinematographer - December 2013 - 2
American Cinematographer - December 2013 - 3
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American Cinematographer - December 2013 - S-1
American Cinematographer - December 2013 - S-2
American Cinematographer - December 2013 - S-3
American Cinematographer - December 2013 - S-4
American Cinematographer - December 2013 - S-5
American Cinematographer - December 2013 - S-6
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American Cinematographer - December 2013 - Cover3
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