American Cinematographer - November 1999 - 38
Urban Gothic
Filming in the
depicting a
drug dealer's
set
apartment,
Scorsese and
Richardson set
up a
shot with
Nic
Cage.
This
some wild fastin which the EMTs
approach led to
motion
scenes
speed and panned to find the actor in
(It's one of the only moments in
bed.
speed around town as if
trapped in a hellish drug rush they
the film when Pierce is able to escape
his hectic job and rest.)
can't escape.
Another
cinematic
to
seem
compelling, techni-
cally-complex scene was accom¬
plished entirely in-camera in one
time-consuming take. During one of
the
rare
times when Frank Pierce is
home, he walks to his apart¬
ment's main window, which has a
seen
at
dramatic view of the Manhattan
skyline. The
camera moves in to fill
the frame with the window view, and
then shifts into
time-lapse sequence
skyline image rapidly
progresses from midday to evening.
The time-lapse then ends and the
shot continues, panning across the
a
in which the
room
to
Despite the melange of edgy
techniques effectively
employed in Bringing Out the Dead,
the film does
seem
to
a
films such
as
camera
was
returned
to
'94),
'96) and U-Turn
Scorsese
explains the absence
formats by stating simply,
"I don't like
to
story
JFK (AC Feb. '92),
Nixon (AC March
window. Once he was out of the shot,
switched
a
Natural Born Killers (AC Nov.
began with Cage walking to the
was
natural fit for
hallucinatory elements: the
cameraman's frequent use of multi¬
ple imaging formats, such as blackand-white, Super 8, videotape and
16mm film. Richardson has previ¬
ously employed this grab bag of
imaging formats to powerful effect in
of multiple
time-
lapse mode. When that sequence was
completed later in the day, the
36 November 1999
be
might
(AC Oct. '97).
pick up Pierce in bed.
camera
feature another
with
The execution of the shot
the
not
Richardson trademark that
normal
in my
to
use
different formats
films. Bob has done
an extra¬
for that,
certainly not in
Bringing Out the Dead. To me, the
very act of using 8mm, video, 16mm
and this and that, all mixed together
and thrown onscreen in superimpo¬
matter
sition and madness, is
ment
culture. I find that idea
interesting,
nothing to do with what I
was
trying to accomplish in Bringing
but it had
Out the Dead" Scorsese reiterates
that his
emphasis was the drama that
spiritual
results from Pierce's internal
numbness.
Of
array of stylistic signatures,
including the use of a moving
camera on
stationary actors, but he
decided
to tone
down those tech¬
niques because of the intensely inte¬
rior nature of the story. "I didn't want
to be distracting, especially in the
scenes
between Nic and Patricia," the
director
says.
knows how
doesn't
but I
woman.
way.
Scorsese has his
course,
own
ordinary job with that sort of thing,
just don't see the world that
I also don't have the subject
a moral state¬
itself, about the state of our
in
to
even
"Neither of them
reach the other; Frank
know how
All he
can
to
talk
to a
think of to say to
her is, 'Do you want to get some
American Cinematographer - November 1999
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