American Cinematographer - December 2016 - 80

◗

A Date With Destiny
those things are key elements, and they
determine how tight you need to be, or
how wide you need to be, or whatever the
point of view is.
"What we do in the movies - all
the work that goes into costumes and
props, set design and performances - it's
all ephemeral," the cinematographer
muses. "When it's recorded on film or on
digital, that is where it gets its value. On
its own, it doesn't mean anything. It only
means something when the actors
perform a scene and create a certain kind
of emotion, which they transmit through
their performances to the audience. That
moment is preserved by the camera. And
then you throw all the elements that were
an essential part of it away. The set is
revamped, the costumes go back into a
closet somewhere, the actors go on to
become other characters in other movies
- and all those creations that went into
making you believe you're in the story
just evaporate. It's fascinating. Within the
frames of the movie is the only place
where all that energy and all that
manpower and all that creative spirit
lives! It's kind of unbelievable to think
about, but that's what we do when we
make movies."
Regarding the marked on-screen
darkness of most of the scenes featuring
the mysterious Hughes, Beatty offers,
"That was Howard. Howard kept it dark.
He kept the lights low and wanted to
avoid being seen."
Asked how he lit for this dark
look, Deschanel explains, "I found that if
we kept making the scene darker and
darker, it got duller. If you're projecting
the image in a theater [that is not
employing laser projection] and you're
only projecting black, it will look muddy
and gray. You need some kind of
highlight in there to trick the pupil to
close down so that the black looks
blacker. So we needed to pop things out
of the darkness to get rid of the dullness
- pop light on his face, pop some flecks
of light, or amplify a lamp in the
background."
Working with the grip and electric
crews - which were headed by key grip
Jerry C. Deats and gaffer Colin J.

Top: A
disheveled
Marla pours
herself a drink.
Middle: Hughes
watches one of
his films.
Bottom: Cast
and crew
capture a scene
in a darkened
hotel-room set.

80

December 2016

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - December 2016

Contents
American Cinematographer - December 2016 - Cover1
American Cinematographer - December 2016 - Cover2
American Cinematographer - December 2016 - 1
American Cinematographer - December 2016 - 2
American Cinematographer - December 2016 - Contents
American Cinematographer - December 2016 - 4
American Cinematographer - December 2016 - 5
American Cinematographer - December 2016 - 6
American Cinematographer - December 2016 - 7
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American Cinematographer - December 2016 - 9
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American Cinematographer - December 2016 - 21
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American Cinematographer - December 2016 - Cover3
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