American Cinematographer - January 2007 - 50
Ghost in the Machine
Right:
Alongside his
fellow
intelligence
officers, Wilson
ascends to the
Office of
Strategic
Services
-
the
precursor to
the CIA. Below:
Wilson hunts
for evidence of
a
mole within
the OSS.
ophy of that time, and in the process
of being devoured, he ends much of
what was his personal life and loses
his ability to demonstrate anything
that might have had to do with his
heart. Sadly, I found myself thinking
that the degrees of separation
between Edward and myself were
not small. My willingness to sacrifice
family for film [paralleled] his sacri¬
fice of family for country. I lost a
family on this picture, and it most
shooting."
June 9: Three intense days of
work with [De Niro]. We focused
upon defining the film visually -
privacy, commitment to a belief,
secrecy, paranoia, mirrors, frames
within frames. Push the audience,
force them to work. Shadows ofdiffer¬
certainly influenced
ent
densities
to
my
hide within,
to
obscure, to illuminate - edges ofsteel
blue
on
Battles
black
on
-
ashen, cool.
front flood the
gray,
the home
interior
of my mind. I sit blank and
gray.
Richardson
applied his usual
thoroughness to researching the
film's background, poring over his¬
tories of the CIA and its predeces¬
sor, the Office of Strategic Services,
as well as espionage novels such as
Norman Mailer's Harlot's Ghost. He
also watched
a
number of films,
"including The Parallax View, The
Conversation, anything having to do
with paranoia and the government,
as well as [Jean-Pierre] Melville's
films for the precision of framing
and the minimalism of action and
acting." But his main source of
inspiration turned out to be still
photos, particularly the works of
Walker Evans. "They have solid
framing. They're not flamboyant.
But they're a very detailed insight
into a time. Seeing one photograph
after another, they build detail upon
detail, whether it's
someone's face
....
a
chair,
a
There's
wall,
a
or
purity
of vision in that which I found
inspirational, and I felt [this film]
should build in a similar way."
The
palette Richardson
50
January 2007
American Cinematographer - January 2007
Table of Contents for the Digital Edition of American Cinematographer - January 2007
Contents
American Cinematographer - January 2007 - Cover1
American Cinematographer - January 2007 - Cover2
American Cinematographer - January 2007 - 1
American Cinematographer - January 2007 - 2
American Cinematographer - January 2007 - Contents
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American Cinematographer - January 2007 - Cover3
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