American Cinematographer - November 1996 - 52
WAITS
at least T2.8. The
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movie lights. The faster film is help¬
ful in keeping this kind of natural
feeling." (Red was shot on the older
film also lets you film
as natural reflections
-
500 ASA 5296. Sobocinski remarks
that "in Red, we used a little filtra¬
tion, mostly black Tiffen ProMist,
one-eighth to one-quarter.")
Sobocinski and Howard
wanted to convey a commonality
between the behavior of the kid¬
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Equip.
nappers and the victimized family;
this is particularly the case in a
when the criminals argue
to how to extricate themselves
scene
over
from the
kidnapping fiasco. Mean¬
while, Mullen is at odds with his
wife Kate (Rene Russo) and the FBI
operatives regarding the
procedure for rescuing his
Observes Howard, "On
Apollo 13,1 tried to keep the film's
three locales more or less con¬
nected at all times; I treated the
story as if it were one phone con¬
versation, or as if the characters
were
in the
started
Piotr and I
talking about that idea for
was
really fun to work
with, because it was a less obvious
connection, but we were able to find
ways to connect the two camps."
Sobocinski concurs, "At
the
same
time that Mullen is refus¬
ing to play the kidnapper's game,
and he is strongly opposed in that
decision by everyone. Events have
caused the kidnappers to try to
convince their leader to immedi¬
ately end the kidnapping, one way
or another. So the
family and the
kidnappers are really in the same
hole together. One approach to
putting them all in that same hole
in the mind of the audience
eliminate
was
to
establishing shots, which
is unusual. Another way was to
have scenes where, say, Mel is talk¬
confused as to where they are, in
the Mullens' home or at the kid¬
nappers' hideaway. We were try¬
ing not to look at them as crimi¬
nals and victims, but rather to see
human behavior in this stressful
moment."
Adds director Howard,
"We worked with the Steadicam a
lot and were able to take it to an¬
other level. We intercut scenes,
such as phone conversations be¬
tween the Mullens and the kidnap¬
pers, in a way that is
think quite effective.
subtle but I
We'd shoot
one
part of a phone conversation,
and the Steadicam operator, Larry
McConkey, would be moving with
the actors; it was improvisational
and experimental. The editors put
together select takes, and Piotr, the
actors and myself would look at it,
break it down shot by shot, and
plan the shooting of the other side
of the phone call scene, to sort of
counter those
moves.
In
a
way,
some of these
verbal situations almost as if they
we were
were
filming
fights."
Another key idea that
Sobocinski wished to convey with
his cinematography - Tom
Mullen's interior thought process
-
was more
difficult to
accom¬
plish. Says Sobocinski, "We used a
subjective camera to show his
point of view, that as he is sur¬
rounded by his wife, aides and the
FBI, and they are all talking to him,
he is really putting together his
plan. He looks at the money, then
at the electronic gear. Through the
subjective camera, we see that
what is important to him is chang¬
ing. He starts to put together the
elements of his plan, and he is col¬
lecting all of this information. He is
making a decision to risk the life of
his
own
son,
because he is smart
ing, looking screen right and then
cutting to one of the kidnappers
enough to understand his opposi¬
looking screen left. Logically, you
think they are in the same room for
methods will not work in this
situation."
Mullen's intense deter¬
a
second."
At
dramatic
396-6615-7788
822-522-3977
nappers,
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813-5210-3801
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proper
son.
series of whip pans that stop on
the faces of both sets of actors. At
that point, most viewers become
a
one
point, during
a
phone call with the kid¬
the Mullens are led to be¬
lieve that their
son has
just been
killed. Says the cinematographer,
"We shot the reaction to this with
November 1996
tion, and to know that normal
mination to
get his son back on
virtually consumes the
psyche of the businessman. A
his terms
in which a desperate kidnap¬
ambushes and attacks Kate -
in an attempt to convince Mullen to
scene
per
American Cinematographer - November 1996
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