American Cinematographer - December 2017 - 70

◗

Strife and Justice
gone by? What time is it? The simplest
lighting setup at that table was just to
do an overhead; I think we used a
China ball, then in the wide shots, a real
light. Full illumination on their faces,
with the backgrounds falling away and
little edges. Transitioning the house to
early morning, we're literally in the
same setup, but making it feel as if the
sun has just come up. Outside, the
Mayers family is cleaning up in front of
their house [after the riot]. We know
that's happening contemporaneously
with the kid watching TV, because on
the TV is a live feed of the interview
going on in front of the Mayers' house.
So that's the transition back into the
house. I think we came up with the best
solution we could.
Roman J. Israel, Esq. touches on
inequities in the criminal justice
system, but you've said that Dan
Gilroy was more interested in exploring the inside of human beings.
Elswit: Danny wanted to make a
movie about the human condition and
what it's like to be [a] guy [like Roman].
How the world has changed from, say,
1968 to 2017 - the way you fight
injustice. That's a difficult topic to
address now. But mostly Danny and
Denzel were discovering who this guy
is. It's a remarkable performance.
Watching Denzel dissolve into that guy,
watching that unfold day to day, was
one of the most remarkable things I've
ever seen.
Was this entirely 35mm?
Elswit: Danny felt this would be
one of those movies where, if we had
film, it really would look and feel different. But when we first started, we'd
already committed to digital. It was a
money situation - another $100,000
to go with film. They always say it's a
wash in the end, but it was up-front
money.
We started in Roman's apartment with an Alexa XT [capturing in
4:3 mode, except for footage to be
enhanced with visual-effects, which was
shot in Open Gate mode]. During
rehearsal a week before we started,
Denzel said to Danny, 'You want to

Top: The titular
civil-rights lawyer
is forced to adapt
to his new
circumstances
when his life
abruptly changes
in the drama
Roman J. Israel,
Esq. Above: The
camera is framed
for a close-up of
Washington.
Right: Washington
and crew work on
location in a home
in Pasadena, Calif.

70

December 2017

American Cinematographer



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
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American Cinematographer - December 2017 - 11
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American Cinematographer - December 2017 - 21
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American Cinematographer - December 2017 - 28
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American Cinematographer - December 2017 - 37
American Cinematographer - December 2017 - 38
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American Cinematographer - December 2017 - 70
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American Cinematographer - December 2017 - 82
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American Cinematographer - December 2017 - 85
American Cinematographer - December 2017 - 86
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American Cinematographer - December 2017 - 89
American Cinematographer - December 2017 - 90
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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
American Cinematographer - December 2017 - 108
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
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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
American Cinematographer - December 2017 - 122
American Cinematographer - December 2017 - 123
American Cinematographer - December 2017 - 124
American Cinematographer - December 2017 - 125
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American Cinematographer - December 2017 - 127
American Cinematographer - December 2017 - 128
American Cinematographer - December 2017 - Cover3
American Cinematographer - December 2017 - Cover4
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