American Cinematographer - January 2007 - 77
in
first meeting that he
pursue a strong sense of
realism with the lighting, like we did
our
wanted
very
AC with
to
an
for In the Bedroom, but when I saw
Crewdson's photos, I realized Todd
after
something else as well.
Perhaps the day scenes would
belong to the realm of realistic light¬
ing, while the twilight and night
scenes would
open the door to
something stylistically different. It
was
took
while
me a
ence,
to
find that differ¬
and Crewdson's book helped
lot. The
images were very
sharp, very crisp, and there was
always a mix of color temperatures,
like yellow-orange artificial light
against the cold blue of the twilight
sky."
Apart from this reference,
Calvache mainly got the impression
from Field that "we were going to
me
a
continue the methods we'd used
on
In the Bedroom." That meant,
among
other
things, filming in Super
35mm. "In
preparation for In the
Bedroom, I took hundreds of photos
and found
would be
myself cropping in what
a
Field, who is
widescreen ratio," says
an
avid
photographer.
"But I knew that if we
going to
anamorphic, we'd need a
proper set of matched lenses and an
shoot
were
experience pulling focus on
anamorphic barrel, and this sim¬
ply wasn't possible with the modest
budget on that film. Additionally, I
tend to favor focal lengths that are
only possible with spherical lenses.
"During our first meeting in Los
Angeles, Todd insisted it was going
to be a tough shoot, that we weren't
going to have enough time," recalls
Calvache. "I thought it wouldn't be
On Little
Children, because Antonio
time
and I had
so
little prep, we went with
Super 35 sort of by default, because
we were
both comfortable with it."
When he first arrived from
Spain
in
1992
American
Film
Institute
Calvache
was
accustomed
to
attend the
(AFI),
Europe's
then-standard
aspect ratio, but he quickly
to
1.66:1
grew to
love the 1.85:1 U.S. standard. "The
first movie I did in widescreen
In the
was
Bedroom, and I fell totally in
love with it. Todd and I
waiting
for the right project to shoot
anamorphic. I tried to talk him into
doing Little Children in anamorphic,
but he expressed concern about the
unpredictable nature of shooting
with such young children."
Among other issues, Field was
concerned about balancing the
frame between actors of varying
heights. The amount of time the two
3-year-olds (Sadie Goldstein and Ty
Simpkins) had to be on camera pre¬
sented other challenges as well.
are
that bad because
a
we
had
we
Brad and Aaron
discuss how
they will spend
their day.
had twice the
In the Bedroom and
on
larger budget. But Todd knew bet¬
ter
-
it
was a
hard shoot. We had
twice the time, but every day we still
had to rush." The most basic prob¬
lem
that the
was
children, who
in almost half of the film's
scenes, could only work 61/2 hours
per day; this meant the three-month
shooting schedule was hardly luxu¬
rious. "Whenever possible, if a scene
appear
involved the children, we'd try very
hard
to plan ahead camera-wise and
lighting-wise, in so much that when
the children were brought to the set,
the
and
equipment were hid¬
Duvatyn tents so that
Kate and Patrick could play with
them seemingly unobserved," says
crew
den behind
Calvache. "Todd said, 'Whenever the
children are working, it will be like
shooting television; we're going to
use two to
three
lenses
more
a
lot
We had to be
time,
and
zoom
might like.'
ready to shoot at any¬
as soon as
from their
cameras
than we
the kids woke up
naps."
American
Cinematographer 75
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
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