American Cinematographer - March 2007 - 47

show up

in the morning and
something complicated that day
if the set is not pre-lit.' Sometimes
the shooting crew was also the rig¬
ging crew, so they worked a lot of
nights and weekends. Everybody on
this film worked very hard."
One particularly challenging
night sequence depicts a Nazi
cannot

do

ambush of

a

boat loaded with

Jewish refugees, the incident in
which Rachel loses her entire

family.

The Germans kill all the passengers,
but Rachel manages to slip under¬
and escape. "In

the beginning,
family is talking amongst them¬
selves on the boat, and I thought I
couldn't possibly light the scene
properly if we were going to actually
film it at night," recalls Lindenlaub.
"We had two minutes of dialogue
on a
moving boat, and I would have
had to stack so many lights along the
canals that the production could

water

her

never

have afforded it. So instead, we

shot dusk for

night over three
evenings, and 1 used some Kino Flos
for very soft backlight.
"For the shots when the boat
is under attack,

we

found

one area

with
on a

a special set of challenges is set
train, where Rachel, hiding her

Jewish identity, encounters a high-

ranking

Nazi

officer,

Miintze

(Koch). The

filmed in

two

camera sees

Fudwig

scene

was

parts. In the first, the
Rachel in the crowded

train

as

she tries

Germans, who

to

avoid the

checking passen¬
gers' identification papers; in the
second, she enters Muntzes private
compartment and strikes up a flirta¬
tion with him that proves beneficial.
"We shot the first part on a real, periare

where we could

light from the land,"
use big
Musco lights or anything like that,
but we were able to get three big
cranes, and on them we placed clus¬

officer in charge
of the ferry

assault, Gunther
Franken

(Waldemar
Kobus), surveys
the carnage.
Left: Later, at a
Nazi party,
Franken

he continues. "We couldn't

ters

Above: The S.S.

celebrates with
his uninhibited

mistress, Ronnie

(Halina Reijn).

of Maxi-Brutes mounted with

trusses

and gelled with

V2 CTB. We'd

hoist those cages 80 meters in the air
on the crane, using big ropes that we

could

alter the

angle.
light the boats and the
water. Fuckily we had some fog
coming in, so the light was a bit dif¬
fused. We also used Grips on Water,
a Dutch service that provides
barges
with platforms for generators and
maneuver

This let

to

us

cameras.

We could sometimes be

attached

to

the

picture boat that
shooting from our camera
barge and using it as a platform for
fill light as well. Of course, any kind
of shooting on the water can be
way,

slow and difficult."
Another

scene

that

came

American

Cinematographer 45



American Cinematographer - March 2007

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

Contents
American Cinematographer - March 2007 - Cover1
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American Cinematographer - March 2007 - 1
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