American Cinematographer - December 2017 - 38
◗
Uncanny Valley
Right: A
holographic
advertisement
for "Joi," an
artificialintelligence
manufactured
by Wallace
Corp., reaches
out to K.
Below and
bottom: K and
his own Joi
(Ana de
Armas) share
a rooftop
moment in
the rain.
liked the idea of L.A. being cold, with
either rain or snow in exterior scenes.
We wanted the environment to be a
character in itself, and gradually we
came to the idea of stark, minimal
Brutalist architecture. Denis was particularly struck by some of the architecture
we had seen in London, such as the
South Bank arts complex, the Barbican
Estate and Trellick Tower. I also spent a
lot of time trawling the internet, looking
38
December 2017
at different architects' work and how
they used light in their buildings.
At one point I came back to L.A.
and continued working with a storyboard artist here, then I'd get together
with Denis and we'd talk things
through. We probably storyboarded this
movie more precisely than anything I've
ever done apart from the Coen brothers'
films - maybe more precisely because
we previsualized some of it. The storyAmerican Cinematographer
boards came in handy mainly for the
visual-effects work, the aerial work and
the second-unit work, though there
wasn't much of the latter.
What led you to Hungary?
Deakins: Initially we thought we
might shoot in London, and that was
why we scouted there, but we knew we
had to shoot about two-thirds of the
movie on stage, and there was no stage
space available in London. [Executive
producer] Ridley Scott had shot The
Martian [AC Nov. '15] in Hungary, so
he was familiar with the stages there. I
went out to Budapest with Denis quite
early on, and we scouted various locations in Hungary as well as some
specific architecture in Slovakia.
I brought several of my key crew
over from the States, but I have to say
our Hungarian crew was fantastic. For
the day-to-day on-set lighting, I worked
mostly with local gaffer Krisztián
Paluch and his crew, whilst our supervising gaffer, Billy O'Leary - whom I
have worked with on and off for more
than 30 years - came over from New
York to supervise. Local rigging gaffer
Antal Berger and dimmer-board operator Titusz Badonics were terrific, but we
had so many different sets that we called
in a few people I'd worked with on other
projects to help, including key grip
Mitch Lillian, rigging key grip Charley
Gilleran, rigging gaffer Patrick
Bramucci and dimmer-board operator
Steve Mathie. We also brought in our
Table of Contents for the Digital Edition of American Cinematographer - December 2017
Contents
American Cinematographer - December 2017 - Intro
American Cinematographer - December 2017 - Cover1
American Cinematographer - December 2017 - Cover2
American Cinematographer - December 2017 - 1
American Cinematographer - December 2017 - 2
American Cinematographer - December 2017 - 3
American Cinematographer - December 2017 - 4
American Cinematographer - December 2017 - Contents
American Cinematographer - December 2017 - 6
American Cinematographer - December 2017 - 7
American Cinematographer - December 2017 - 8
American Cinematographer - December 2017 - 9
American Cinematographer - December 2017 - 10
American Cinematographer - December 2017 - 11
American Cinematographer - December 2017 - 12
American Cinematographer - December 2017 - 13
American Cinematographer - December 2017 - 14
American Cinematographer - December 2017 - 15
American Cinematographer - December 2017 - 16
American Cinematographer - December 2017 - 17
American Cinematographer - December 2017 - 18
American Cinematographer - December 2017 - 19
American Cinematographer - December 2017 - 20
American Cinematographer - December 2017 - 21
American Cinematographer - December 2017 - 22
American Cinematographer - December 2017 - 23
American Cinematographer - December 2017 - 24
American Cinematographer - December 2017 - 25
American Cinematographer - December 2017 - 26
American Cinematographer - December 2017 - 27
American Cinematographer - December 2017 - 28
American Cinematographer - December 2017 - 29
American Cinematographer - December 2017 - 30
American Cinematographer - December 2017 - 31
American Cinematographer - December 2017 - 32
American Cinematographer - December 2017 - 33
American Cinematographer - December 2017 - 34
American Cinematographer - December 2017 - 35
American Cinematographer - December 2017 - 36
American Cinematographer - December 2017 - 37
American Cinematographer - December 2017 - 38
American Cinematographer - December 2017 - 39
American Cinematographer - December 2017 - 40
American Cinematographer - December 2017 - 41
American Cinematographer - December 2017 - 42
American Cinematographer - December 2017 - 43
American Cinematographer - December 2017 - 44
American Cinematographer - December 2017 - 45
American Cinematographer - December 2017 - 46
American Cinematographer - December 2017 - 47
American Cinematographer - December 2017 - 48
American Cinematographer - December 2017 - 49
American Cinematographer - December 2017 - 50
American Cinematographer - December 2017 - 51
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American Cinematographer - December 2017 - 53
American Cinematographer - December 2017 - 54
American Cinematographer - December 2017 - 55
American Cinematographer - December 2017 - 56
American Cinematographer - December 2017 - 57
American Cinematographer - December 2017 - 58
American Cinematographer - December 2017 - 59
American Cinematographer - December 2017 - 60
American Cinematographer - December 2017 - 61
American Cinematographer - December 2017 - 62
American Cinematographer - December 2017 - 63
American Cinematographer - December 2017 - 64
American Cinematographer - December 2017 - 65
American Cinematographer - December 2017 - 66
American Cinematographer - December 2017 - 67
American Cinematographer - December 2017 - 68
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American Cinematographer - December 2017 - 70
American Cinematographer - December 2017 - 71
American Cinematographer - December 2017 - 72
American Cinematographer - December 2017 - 73
American Cinematographer - December 2017 - 74
American Cinematographer - December 2017 - 75
American Cinematographer - December 2017 - 76
American Cinematographer - December 2017 - 77
American Cinematographer - December 2017 - 78
American Cinematographer - December 2017 - 79
American Cinematographer - December 2017 - 80
American Cinematographer - December 2017 - 81
American Cinematographer - December 2017 - 82
American Cinematographer - December 2017 - 83
American Cinematographer - December 2017 - 84
American Cinematographer - December 2017 - 85
American Cinematographer - December 2017 - 86
American Cinematographer - December 2017 - 87
American Cinematographer - December 2017 - 88
American Cinematographer - December 2017 - 89
American Cinematographer - December 2017 - 90
American Cinematographer - December 2017 - 91
American Cinematographer - December 2017 - 92
American Cinematographer - December 2017 - 93
American Cinematographer - December 2017 - 94
American Cinematographer - December 2017 - 95
American Cinematographer - December 2017 - 96
American Cinematographer - December 2017 - 97
American Cinematographer - December 2017 - 98
American Cinematographer - December 2017 - 99
American Cinematographer - December 2017 - 100
American Cinematographer - December 2017 - 101
American Cinematographer - December 2017 - 102
American Cinematographer - December 2017 - 103
American Cinematographer - December 2017 - 104
American Cinematographer - December 2017 - 105
American Cinematographer - December 2017 - 106
American Cinematographer - December 2017 - 107
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American Cinematographer - December 2017 - 109
American Cinematographer - December 2017 - 110
American Cinematographer - December 2017 - 111
American Cinematographer - December 2017 - 112
American Cinematographer - December 2017 - 113
American Cinematographer - December 2017 - 114
American Cinematographer - December 2017 - 115
American Cinematographer - December 2017 - 116
American Cinematographer - December 2017 - 117
American Cinematographer - December 2017 - 118
American Cinematographer - December 2017 - 119
American Cinematographer - December 2017 - 120
American Cinematographer - December 2017 - 121
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American Cinematographer - December 2017 - 123
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American Cinematographer - December 2017 - 125
American Cinematographer - December 2017 - 126
American Cinematographer - December 2017 - 127
American Cinematographer - December 2017 - 128
American Cinematographer - December 2017 - Cover3
American Cinematographer - December 2017 - Cover4
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