American Cinematographer - December 2014 - 82

◗

Tragedy on the Mat
Bright Star (AC Oct. '09) initially caught
his eye. "Greig displays incredible diversity with his choices, from Zero Dark
Thirty to Snow White and the Huntsman
to films he'd shot in Australia in a vérité
style," Miller reflects. "Coming from a
photography background, he is topshelf technically. He is also open and
engaged. There is an invisible perspective and voice to this film, and it's
important that the person looking
through the eyepiece is looking not just
at pretty frames, nice movement and
'good light,' but at people lying to themselves in a way that will lead to tragedy."
Fraser acknowledges his own
fondness for dark drama, and says he
found the talent involved in Foxcatcher
to be irresistible. "When you put a
director such as Bennett with actors like
Carell, Tatum and Ruffalo, the whole
thing is even greater than the sum of its
parts - you've got something explosive," Fraser says by phone from
Calcutta, where he is prepping the
Australian drama Lion with director
Garth Davis. "That combination [of
actors], in such a dark story, was a dream
to photograph."
Miller recalls that when they sat
down for prep in September 2012, he
and Fraser planned an austere style that
would "observe" the story rather than
narrate dramatic points more directly.
"We talked about an approach that
would communicate the subtleties of
what's not being explicitly expressed,"
the director says. "There's so much
going on, yet the exhibition is so
restrained that if the filmmaking doesn't
sensitize you to it, it's going to pass you
by. There's not one shot more than is
needed. There's a kind of haiku mandate
that the camera doesn't move more or
faster than needed."
The production began 40 days of
principal photography in October 2012,
in and around Pittsburgh. The crew also
went out of state to the Westmoreland
Davis Mansion in Leesburg, Va., to
shoot exteriors for the palatial du Pont
property.
Video of the real-life du Pont and
Schultz brothers in their respective and

Top: Mark awaits
his initial meeting
with du Pont.
Middle and
bottom: Shooting
film and using
older lenses helped
smooth Carell's
prosthetic facial
enhancements.

82

December 2014

American Cinematographer



American Cinematographer - December 2014

Table of Contents for the Digital Edition of American Cinematographer - December 2014

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