American Cinematographer - December 2017 - 80

◗

Delta Blues

Top and middle: Ronsel returns home from World War II, after serving as a tank sergeant. Bottom: Back
from service as a bomber pilot, Jamie approaches his brother's home, where he'll be greeted by his
sister-in-law, Laura (Carey Mulligan), and her children.

Simone? Mudbound is distributed by
Netflix, which picked up the movie at
last year's Sundance Film Festival for
simultaneous online and theatrical
release. Following Mudbound will be
Morrison's first big-budget franchise
project, Marvel's Black Panther - her
80

December 2017

second collaboration with Ryan
Coogler, for whom she shot Fruitvale
Station.
Rees was especially inspired by
documentarian Les Blank's late-'60s doc
The Blues Accordin' to Lightnin' Hopkins.
"Les has a style where it doesn't feel like
American Cinematographer

you're watching a film - it feels like
you're observing life," she notes.
The filmmakers looked at the
work of photographer Robert Frank,
with Rees responding to the images'
candor and the subjects' seeming obliviousness to the camera. "To me, it's all
about the camera being out of the actors'
way, and using blocking to heighten
what's going on in relationships," the
director says.
Morrison adds, "We talked about
Robert Frank and the myth of the
American dream. The thing that unifies
people across all cultures and times is the
desire for something better. She liked
how his frames feel like they're bursting
at the seams. I wanted to contrast that
with the isolation of the reality. The goal
is to have everything, and the reality
often is having nothing."
Given the vintage, naturalistic
look they sought, the filmmakers' first
instinct was to shoot on celluloid, but
given budget limitations, that would
have meant cutting two days out of an
already challenging schedule. "It felt
nearly sacrilegious to not shoot on film,
because that era is so analog, so tactile,"
Morrison admits. "But we just wouldn't
have been able to pull off the scope of
the film on a shorter schedule."
Morrison worked with New Orleansbased FotoKem dailies colorist Illya
Laney to develop a LUT that more
closely resembled film emulsion, begin-



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
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American Cinematographer - December 2017 - Cover3
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