American Cinematographer - November 1999 - 48
Anarchy in the U.S.A.
3200°K
Right: Marla
(Helena
Bonham Carter)
is the love
interest of both
was
quarter toplight
from the
side. In the
or
patio
door and
windows in the
kitchen,
we
also
had some Kino
Flos to continue
the daylight, as
well as some
Decapods to
create
stronger
sunlight coming
in through the
windows."
Below: A dimly
lit interior in
Tyler's Paper
Street
home,
illustrating the
often
underexposed
treatment of
the actor's
keylight.
with
environment," he reveals, "and then
three-
12' diffusion.
faces,
top-light ambience and then add
a back edge- or halflight, motivated
by any practicals in the scene. "The
general game plan was to make sure
that the actors separated from their
pretty much lit
Above the
start
his
stating, "The
Skypans
blasting
through 12-by-
actors'
Cronenweth would often
kitchen scenes,
daytime, we
created a kind
of cloudy-day
ambience with
a flood of light
from a wall of
model
To
explains the
lighting of the
a
but if there
specific colors in a given
scene, we'd usually use white light or
perhaps a little warmer light."
Edward
Norton's
character.
Gaffer Claudio
Miranda
with
-
weren't any
Tyler and
kitchen
bulbs, Cool Whites and
Warm White Deluxes
mum
flexibility in composition, in
from The Game, to
terms
of both the film's eventual
naturalistic aesthetic into the film's
video release and the increased range
of spherical focal lengths available in
gaffer Claudio Miranda and key grip
lighting design. "A good part of the
lighting employed some sort of
toplight source," he explains. "Many
practical locations are lit by fluorescents in the ceiling, so we purpose¬
fully tried to maintain that element
of reality. Toplight seemed to help
with the prosthetics as well, by show¬
ing off the integrity of the wounds
without revealing too much.
"If the surroundings of a
certain location had a particular
color of light, then we'd go with that
color and perhaps add to it. We
carried a whole array of different
Michael Coo, both Fincher veterans
fluorescents
the Primo series. "David also likes
Super 35 because it allows us to use
equipment, light with smaller
sources, and expose for practical
night exteriors and actually get
something out of the existing light¬
ing at the location," notes
less
Cronenweth. "In fact,
some
of
our
practical locations were chosen based
on what the city lights did in the
backgrounds."
Cronenweth
worked
with
-
incorporate this
Chroma 50s, normal
play the actors's edgelight off of the
practicals as much as possible with¬
out actually 'lighting' them. For this
film, we didn't necessarily want to be
able to see directly into their faces. It
was more
interesting and appropri¬
ate to the story to force the audience
to pay attention. Faces were generally
underexposed \ Vi to 2 stops, though
it depended upon the scene. If the
scene called for the audience to
really
be able
to see
faces closer
either
case,
to
it
them, I'd make the
IV2 stops
was
under. In
still important to
feel the presence of their eyes, so we
often played with eyelights - every¬
thing from Obie lights to Kino Flos
taped to the matte-box - which we
usually kept three stops under."
"We lit the faces mostly with
Kino Flos covered with V4 CTO
muslin,"
adds
ticals
If it
and
gaffer Claudio
Miranda. "The angle and direction
of that depended on where the prac¬
were.
was a
door shot, the
key may have to come from the top,
or if a pillar got in the way, we
might
bring it in from the side. David and
Jeff wanted everything to be as
natural as possible and allowed areas
to go dark. We then played with
creating blacks that you could just
read into with hints of reflections for
texture."
The
half of its
production spent about
138-day schedule on prac¬
tical locations in and around Los
Angeles. The other half of the shoot
executed
soundstages at 20th
Century Fox in Century City.
One key setpiece in the film is
was
46 November 1999
on
American Cinematographer - November 1999
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