American Cinematographer - July 1999 - 79
"We wanted to keep
Daryl's light high-key. We came up
with the term 'alabaster light' to
describe our lighting for her. It was a
thing I celebrate about the Sixties.
Some cinematographers I've worked
with have operated out of fear. There
is so much pressure on them, and I
white, almost desaturated sort of
know because I've shot before. The
high-key fashion look. In one scene
brushing Sabine's hair
in the house, we used very harsh light
because it fit that point in the film
psychologically. Even in the scene in
the shed, the lighting was a little
harder on Daryl than it normally
would be, because it's an agonizing
director of photography
Ryan
says.
where Clea is
is the center
point of the entire project - either
there's going to be an image on the
film
or
there's not, and it's
a tremen¬
dous
it was precisely
sensitivity to the script that made
her collaboration with Ryan such a
satisfying one. "Paul would rather
weight to bear. The cinematog¬
raphers who are usually available to
shoot a low-budget film have the
whole weight of their career resting
on
your movie, and that's not neces¬
sarily a good thing for your film. Paul
talks about using instincts, but he
also has years of experience and
consequently enough faith in himself
talk about the emotional content of a
to
scene
for her character."
Painter says
this
than 'Where
put a crane
shot?"' the director says. "I also really
liked the way he relies on intuition -
scene
that's the way
can we
I work, and it's also
what the film is about! His energy
and instincts are connected to every¬
take risks. There
other cine¬
are
matographers who would say, 'I can't
shoot this,' because they'd be afraid a
shot would come out badly and it
would reflect negatively on them. I
knew I had
who
to
was never
work with
someone
going to do that."
For his part,
the
on
Ryan points out
importance of those moments
a shoot when the motion
picture
camera
isn't in hand,
or even neces¬
sarily in the vicinity. "When you're
working on a film that's so personal
to the director, just hanging out with
her and talking to her about life in
general somehow informs your
unconscious," he explains. "Then
when you are ready to make creative
decisions, you know what the real
emotional origins of the story are.
When the sun is going down and it's
the fourteenth hour of filming, you
can only go on those instincts and
intuitions that have been built up by
talking to the director over beers
some night at a pasta place in Marin.
It's not a rational process at that
point. It's about gut-level decisions
based on the experience of someone
involved with the story-not just on
your own gut feelings based on the
last film you made."
■
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77
American Cinematographer - July 1999
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