American Cinematographer - November 1999 - 34
Urban Gothic
Director Martin
deeper blacks (see "Soup du jour,"
Scorsese checks
AC Nov.
stand-in work.
The filmmakers
'98). "Bob showed me his
upcoming film, Snow Falling on
Cedars, in which the skip-bleach
process was used effectively, and I
previously
said, 'Let's do it!"' Scorsese enthuses.
the frame while
Richardson
does some
collaborated on
the 1995 crime
film Casino, and
Scorsese felt
Richardson's
talents would
well-suited to
the
"My ideal of desaturated color is the
the Technicolor
[prints] of Moby Dick, a look that
was
designed by director John
Huston
and
cinematographer
control they got with
Oswald
hallucinatory
Morris
skip-bleaching gave
Bringing Out the Dead another flavor
world of
Bringing Out
and
the Dead.
that I also like."
tone
This
in
the colors with
Marty; I just put the
lights in there. Dante is brilliant. The
production designer works on the
film for months upon months, much
longer than the cinematographer.
Good work that people think is the
cinematographer's is often that of the
production designer. We light their
sets,
and when their work is beauti¬
fully accomplished
mean
well matched
the end result is
-
to
by which I
the story
-
vastly superior."
Ferretti confesses that he
the Dead. "Martin is from New York,
from
Italy, so I had to try to
get into his head," he admits.
Ferretti normally starts his
creative process by reviewing paint¬
ings. "When painters make a piece of
life on a canvas, they take out all the
am
Denver trauma unit and
lance
on
a
ambu¬
runs.
on
Ferretti also examined
photos
of underground tunnels where
homeless people lived, and even
visited several of them. "Those places
are
like another entire city," he
marvels. "They are unbelievable, and
they are like hell." Details from such
real-life visits are sprinkled through¬
out
was
initially at a loss in terms of finding
the key to the look of Bringing Out
and I
black-and-white stills taken in
the film. Ferretti elaborates,
are the most important
mono¬
photography books
about urban dwellers on the fringes
of society. One title that Scorsese cites
influential
photojournalist
Eugene Richard's 1995 book The
as
was
Knife and Gun Club: Scenes From
an
Emergency Room, which features
eventually
adopted. "Most of the photographs I
appar¬
warm
effect in
point
"Part of the
bleach-bypass
was to over¬
whelm the red and
yellow tones,
which tend to predominate from
signs in Manhattan at night," the
cinematographer says. "We were
trying to move the whole film to a
cooler black-and-white feel."
Bringing Out the Dead was
anamorphic (2.35:1)
that
the
Scorsese and Richardson
himself in still
of the
streets.
research contributed
"Seeing only the essentials helps me
focus when I'm trying to devise a
look for a new project."
In the case of gritty, urban
Bringing Out the Dead, however,
paintings did not seem to be the right
Ferretti immersed
shots of the
shot in the
to
especially
of the film's
the actors, Richardson tried to de-
thing to me in designing a film -
things like how homeless people
arrange their belongings, how the
trash looks on a tough New York
street at four in the morning, how
different types of graffiti appear in
one part of town and not another."
This
early photographic
chromatic, desaturated look that
so
some
emphasize the signs'
"Details
non-essential elements," he observes.
place to start,
tone is
driving
scenes. While
light motivated from
road signs was occasionally played
ent
32 November 1999
[BSC] in 1956.
However, the
format with Panavision's older Cand
E-series anamorphic lenses
(although Richardson did utilize
Panavision's Super High-Speed Tl.4
35mm anamorphic lens for many of
the
film's
ambulance-mounted
shots). Richardson debunks the idea
a
widescreen film shot
on
the
night might be better
accomplished in spherical Super 35.
street
at
"Unless
a zoom
looked at were in black-and-white, so
film," he
avows,
that is how I
difference between the speeds of
spherical and anamorphic prime
lenses, and I happen to like the look
began perceiving the
even though it was
look of the film,
be in color," Ferretti says.
Scorsese confirms, "I wanted
the film to be less colorful, and Bob
to
suggested
process
skip-bleaching."
involves
an
total elimination of the bleach step
to
the
a
of
anamorphic lens wide
an
T2;
open at
or
people may not. My first
assistant, Gregor Tavenner, is extra¬
ordinarily capable at maintaining
in
focus
at
used
no
This
either partial
lens is critical
"there isn't that great
printing, which results in the reten¬
tion of more silver in the image,
creating desaturated colors and
some
where
such apertures.
zooms,
As it
was, we
except for one shot
Marty wanted a snap pullout
from the front of the ambulance."
American Cinematographer - November 1999
Table of Contents for the Digital Edition of American Cinematographer - November 1999
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