American Cinematographer - December 2016 - 76

◗

A Date With Destiny

Top: Frank greets Marla and her mother, Lucy (Annette Bening), upon their arrival in Los Angeles.
Middle: Marla and Frank enjoy a moment alone. Bottom: The crew prepares a process shot, with a
greenscreen positioned behind Frank's car.

76

December 2016

American Cinematographer

big star at the age of 19, and then
continued on as a producer, writer and
director. He's a powerhouse.
"Warren has been a star-producerdirector for so long that you're dealing
with the legend as much as you're dealing
with a person making a movie," the
cinematographer continues. "The best
thing to do is to ignore that as much as
you can and [focus] on where you need
to be, what you need to show, and what
needs to happen in the frame to tell the
story. I think it's critical that you respect
the people you work with, but you also
have to have enough confidence to stand
up for the things that you believe in. For
the most part, I'd say 90 percent of the
time, Warren would leave me to set up
the shot, and then he was happy with it.
But there was give and take, for sure.
"He would also give the actors a
lot of freedom," Deschanel adds. "He did
not give them a lot of notes; he'd let them
figure it out. It was exciting for me to
watch him work with the actors and get
the performances. I was surprised - he
didn't really dwell so much on himself.
He didn't look at playback really at all.
He would know that he wanted to do a
certain variety of things, and we'd keep
rolling and do a few variations, and once
he was satisfied, that was it. It was great
that way. He didn't particularly seek out
anyone's advice about, 'How was that?'"
Nevertheless, Deschanel notes,
Beatty did enjoy a certain degree of
contentiousness. "He likes to have people
push back to some extent," the
cinematographer notes. "He would
always want me to argue with him. But I
find that sometimes arguing a point and
being right isn't necessarily the same
thing. When it comes to something
creative, oftentimes a feeling or an
instinct is more valuable than being able
to explain it. I find it's always better to
make a decision and try something
quickly to see if it works than it is to
ponder and discuss it. Most of the time I
can look at a particular scene after the
fact and come up with a reason why I did
something a certain way, but that doesn't
mean that was what I understood at the
time. A lot of artistic creation is like that.



American Cinematographer - December 2016

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
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