American Cinematographer - September 2007 - 58

Baroque Visions
Top: Caravaggio and Lena (Sarah Felberbaum), his lover and model for Madonna and Child With St. Anne, the work in progress behind her. Bottom: Lena and a child pose for the artist.

gradually focused the light on his subjects, making the background ever darker; and finally he passed from natural to artificial light. He found his greatest creative expression in his first official commission from the Catholic Church, The Calling of St. Matthew and The Martyrdom of St. Matthew for the Contarelli Chapel in San Luigi dei Francesi. Caravaggio was also continually torn between the diabolical and the saintly, a duality synthesized in the struggle between light and shadow in his paintings. How did you suggest this dichotomy in
58 September 2007

the film? Storaro: I adopted a philosophy of light that closely followed the course of his creativity and life. If we analyze the paintings in the Contarelli Chapel, we see he visualized The Calling through the natural light of day and depicted The Martyrdom with artificial light at night. Through light, he succeeded in transmitting the sense of the saint’s passage from life to death. The astounding effect of The Calling on the viewer stems from Caravaggio’s brilliant intuition of depicting a ray of light, symbolizing the divine, coming for the first time

from the right, like a ray of light at sunset. It is not a source of light that illuminates the subjects, but a pure, transcendental entity that slices through the darkness like a scalpel. At the top of the painting is a window that doesn’t emit light, but establishes a balance in the horizontal composition of the work. I photographed the painting, loaded the images into my computer, and used Photoshop to remove the ray of light, and that’s when I discovered that the painting was perfectly lit without that beam of light. How did you create that ray of light and suggest Caravaggio’s moment of discovery? Storaro: I was able to duplicate that beam of light with a Concorde light containing 24 Par-64 globes. We controlled it from our dimmer board, which allowed us to simultaneously follow the rising sun and the emotion of the actor playing Caravaggio. We imagined Caravaggio lying in his studio one morning, sick and tired, and being awakened by a ray of light entering through a small window and cutting across the foreground of the painting, superimposing itself on it. This gives him the idea for completing



American Cinematographer - September 2007

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

American Cinematographer - September 2007
Contents
Editor’s Note
Global Village
DVD Playback
Production Slate
Bourne Again
Cultural Immersion
Baroque Visions
Once Upon a Time in Bucharest
Short Takes
Post Focus
Filmmakers’ Forum
New Products & Services
Points East
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
Wrap Shot
American Cinematographer - September 2007 - American Cinematographer - September 2007
American Cinematographer - September 2007 - Cover2
American Cinematographer - September 2007 - 1
American Cinematographer - September 2007 - 2
American Cinematographer - September 2007 - Contents
American Cinematographer - September 2007 - 4
American Cinematographer - September 2007 - 5
American Cinematographer - September 2007 - 6
American Cinematographer - September 2007 - 7
American Cinematographer - September 2007 - Editor’s Note
American Cinematographer - September 2007 - 9
American Cinematographer - September 2007 - Global Village
American Cinematographer - September 2007 - 11
American Cinematographer - September 2007 - 12
American Cinematographer - September 2007 - 13
American Cinematographer - September 2007 - DVD Playback
American Cinematographer - September 2007 - 15
American Cinematographer - September 2007 - 16
American Cinematographer - September 2007 - 17
American Cinematographer - September 2007 - 18
American Cinematographer - September 2007 - 19
American Cinematographer - September 2007 - Production Slate
American Cinematographer - September 2007 - 21
American Cinematographer - September 2007 - 22
American Cinematographer - September 2007 - 23
American Cinematographer - September 2007 - 24
American Cinematographer - September 2007 - 25
American Cinematographer - September 2007 - 26
American Cinematographer - September 2007 - 27
American Cinematographer - September 2007 - 28
American Cinematographer - September 2007 - 29
American Cinematographer - September 2007 - 30
American Cinematographer - September 2007 - 31
American Cinematographer - September 2007 - Bourne Again
American Cinematographer - September 2007 - 33
American Cinematographer - September 2007 - 34
American Cinematographer - September 2007 - 35
American Cinematographer - September 2007 - 36
American Cinematographer - September 2007 - 37
American Cinematographer - September 2007 - 38
American Cinematographer - September 2007 - 39
American Cinematographer - September 2007 - 40
American Cinematographer - September 2007 - 41
American Cinematographer - September 2007 - 42
American Cinematographer - September 2007 - 43
American Cinematographer - September 2007 - Cultural Immersion
American Cinematographer - September 2007 - 45
American Cinematographer - September 2007 - 46
American Cinematographer - September 2007 - 47
American Cinematographer - September 2007 - 48
American Cinematographer - September 2007 - 49
American Cinematographer - September 2007 - 50
American Cinematographer - September 2007 - 51
American Cinematographer - September 2007 - 52
American Cinematographer - September 2007 - 53
American Cinematographer - September 2007 - Baroque Visions
American Cinematographer - September 2007 - 55
American Cinematographer - September 2007 - 56
American Cinematographer - September 2007 - 57
American Cinematographer - September 2007 - 58
American Cinematographer - September 2007 - 59
American Cinematographer - September 2007 - 60
American Cinematographer - September 2007 - 61
American Cinematographer - September 2007 - 62
American Cinematographer - September 2007 - 63
American Cinematographer - September 2007 - 64
American Cinematographer - September 2007 - 65
American Cinematographer - September 2007 - Once Upon a Time in Bucharest
American Cinematographer - September 2007 - 67
American Cinematographer - September 2007 - 68
American Cinematographer - September 2007 - 69
American Cinematographer - September 2007 - 70
American Cinematographer - September 2007 - 71
American Cinematographer - September 2007 - Short Takes
American Cinematographer - September 2007 - 73
American Cinematographer - September 2007 - 74
American Cinematographer - September 2007 - 75
American Cinematographer - September 2007 - 76
American Cinematographer - September 2007 - 77
American Cinematographer - September 2007 - Post Focus
American Cinematographer - September 2007 - 79
American Cinematographer - September 2007 - 80
American Cinematographer - September 2007 - 81
American Cinematographer - September 2007 - 82
American Cinematographer - September 2007 - 83
American Cinematographer - September 2007 - 84
American Cinematographer - September 2007 - 85
American Cinematographer - September 2007 - Filmmakers’ Forum
American Cinematographer - September 2007 - 87
American Cinematographer - September 2007 - 88
American Cinematographer - September 2007 - 89
American Cinematographer - September 2007 - New Products & Services
American Cinematographer - September 2007 - 91
American Cinematographer - September 2007 - 92
American Cinematographer - September 2007 - 93
American Cinematographer - September 2007 - 94
American Cinematographer - September 2007 - 95
American Cinematographer - September 2007 - 96
American Cinematographer - September 2007 - 97
American Cinematographer - September 2007 - 98
American Cinematographer - September 2007 - 99
American Cinematographer - September 2007 - 100
American Cinematographer - September 2007 - 101
American Cinematographer - September 2007 - Points East
American Cinematographer - September 2007 - 103
American Cinematographer - September 2007 - International Marketplace
American Cinematographer - September 2007 - Classified Ads
American Cinematographer - September 2007 - Ad Index
American Cinematographer - September 2007 - 107
American Cinematographer - September 2007 - ASC Membership Roster
American Cinematographer - September 2007 - 109
American Cinematographer - September 2007 - Clubhouse News
American Cinematographer - September 2007 - 111
American Cinematographer - September 2007 - Wrap Shot
American Cinematographer - September 2007 - Cover3
American Cinematographer - September 2007 - Cover4
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