American Cinematographer - January 2016 - 81
So you then added a continuous
take of Lady Macbeth, and so on?
Arkapaw: Yes, we added in the
other pieces. We repositioned the
camera for the cuts we needed but tried
to let the whole thing flow. The shot of
Michael was the spine of the scene, and
we just figured out what the pieces that
supported that needed to be.
Something I pride myself on is
allowing the actors to get in the flow,
rather than breaking [a scene] up into
lots of coverage. Starts and stops make it
so hard for actors to get in the flow.
It sounds like Justin Kurzel's
approach also favored the actors'
processes.
Arkapaw: With Shakespeare,
you can take the interpretation so many
different places. Instead of plotting out
scenes with pen and paper, Justin was
really keen to explore it on set with the
performance. So he could do 10 takes of
a scene, and every take would be
markedly different. I've never been
more excited or inspired on set, because
you never really knew what Michael or
Marion would bring to it. It was so
interesting and inspiring to see the
range of interpretation that's possible
with such a great piece of literature.
It's great to see that Justin
Kurzel also allowed you all this freedom to create, and you certainly
weren't afraid to go to extreme places
in terms of colors and looks.
Arkapaw: Justin definitely
inspires that freedom. He likes to
subvert the general rules and create
something new. He wants to be
provocative, and he's not afraid to take
risks. Justin would prefer to make a
movie that people either love or hate,
rather than a movie everyone thinks is
okay.
●
TECHNICAL SPECS
2.39:1
Digital Capture
Arri Alexa XT Plus,
Vision Research Phantom Flex
Panavision C Series, E Series, ATZ;
Angenieux Optimo
81
http://www.kinoflo.com
Table of Contents for the Digital Edition of American Cinematographer - January 2016
Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
American Cinematographer - January 2016 - 8
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American Cinematographer - January 2016 - 20
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American Cinematographer - January 2016 - 27
American Cinematographer - January 2016 - 28
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American Cinematographer - January 2016 - 30
American Cinematographer - January 2016 - 31
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American Cinematographer - January 2016 - 33
American Cinematographer - January 2016 - 34
American Cinematographer - January 2016 - 35
American Cinematographer - January 2016 - 36
American Cinematographer - January 2016 - 37
American Cinematographer - January 2016 - 38
American Cinematographer - January 2016 - 39
American Cinematographer - January 2016 - 40
American Cinematographer - January 2016 - 41
American Cinematographer - January 2016 - 42
American Cinematographer - January 2016 - 43
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American Cinematographer - January 2016 - 45
American Cinematographer - January 2016 - 46
American Cinematographer - January 2016 - 47
American Cinematographer - January 2016 - 48
American Cinematographer - January 2016 - 49
American Cinematographer - January 2016 - 50
American Cinematographer - January 2016 - 51
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American Cinematographer - January 2016 - 53
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American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
American Cinematographer - January 2016 - 64
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American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - Cover4
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