American Cinematographer - February 2007 - 8

Shoot
smart
Save
time.

Adapting a literary work to film is never easy, but

Patrick Suskind's 1985 novel Perfume: The Story of
Murderer presented a particularly tricky chal¬

lenge, given that the plot revolves around a protago¬
malevolent scent expert Jean-Baptiste
Grenouille
whose main attribute is his exceptional
sense of smell. How does one
convey olfactory abili¬
ties in a primarily visual medium? According to cine¬
matographer Frank Griebe, the movie's director, Tom
Tykwer, came up with a solution that was right on the
nose: "Tom's approach was
very simple. He said, 'The
nist

book doesn't smell, so the movie shouldn't, either!' We
suggest it all visually in a very simple way: people see
the fish market full of raw, bloody fish, and they know
they see a field of lavender and know it smells wonderful. We show Grenouille
taking in smells by cupping his nose, and by doing close shots of his nose, and that's it!"
As a fan of the book, I'm pleased to report that the screen version of Perfume does
a fine job of immersing viewers in the
sights, sounds and smells of 18th-century France. In
fact, the filmmakers are so adept at placing us in Grenouille's big-buckled shoes that we
can almost empathize with his murderous
quest for the ultimate aphrodisiac. As Griebe
notes in his interview with Jay Holben ("Deadly Scent,"
page 36), "Our goal was a subtle
visual enhancement of Grenouille's discoveries and passion."
Gabriel Beristain, ASC, BSC confronted a different but equally complex conundrum
with The Invisible, whose lead character, trapped in spirit form between life and death,
cannot be seen by anyone around him. Shooting at
practical locations in Vancouver, British
Columbia, Beristain and director David Goyer sought to visualize their hero's plight with as
many in-camera tricks as possible, a strategy the cinematographer found invigorating. As
he relates to interviewer Jon Silberg ("Living in Limbo," page 48), "When [an] in-camera
effect works, it can be the greatest satisfaction you can have as filmmaker."
This month's issue also applauds two master cinematographers who have
provided
viewers with a rich legacy of memorable movies. On Feb. 18, the ASC will
recognize the
consistent brilliance of longtime member Michael Ballhaus by
presenting him with the
International Award. This honor, given annually to a cinematographer born outside the
United States, formally affords the German cameraman his rightful place in the
pantheon.
Although best known for his work with directors Rainer Werner Fassbinder and Martin
Scorsese, Ballhaus has lent his "flying eye" to a staggering list of quality pictures. He has
also distinguished himself as a teacher, a gentleman, and a truly fine ambassador for his
craft. I was eager to chat with him about his fascinating career, and I
sincerely hope the
resulting article ("Full Circle," page 58) reflects the love of cinema that informs his many
accomplishments.
On a sad note, our celebration of Sven Nykvist, ASC ("A Northern Light,"
page 78),
takes the form of a memorial. As most of you know, Nykvist passed
away on Sept. 20,
2006, at the age of 83. Although we noted his passing in a December obituary, we felt his
remarkable achievements mandated a closer look. Historian Robert S. Birchard
gathered
insights from friends and colleagues, which he wove together with some of Nykvist's own

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American Cinematographer - February 2007

Table of Contents for the Digital Edition of American Cinematographer - February 2007