American Cinematographer - November 1999 - 60

Mad-Dog Englishman
Right: Hiding
out in his

Hollywood Hills
mansion,
Valentine

begins to crack
as

Wilson draws
ever closer.
Below:

Operator Ray
de la Motte and

first assistant
Mike Hall work
out a shot on

location, while
director Steven

Soderbergh
(dark shirt and

cap)and
cameraman

Edward

Lachman, ASC

(seated)
observe.

In

recurring introspective
sequence, we see a more youthful
Wilson of 30 years ago as he sere¬
nades some gals with his guitar at a
party. "He's seen as a budding young

backs, consisting of shots of Wilson's

criminal," Lachman relates with

on

one

a

laugh, explaining that much of this
footage was borrowed from the 1967
film Poor Cow, a Ken Loach picture
about working-class loners in which
Stamp starred as a character not
coincidentally named Wilson. "I had
to match the look of that footage for
certain cutaways we needed as flash¬

daughter as a little girl," Lachman
says. "The difficult thing was that we
didn't have the footage from Poor
Cow at that point, and I only saw it
VHS toward the end of our shoot.

I therefore had to try to re-create

that
style based on that reference. I was
pleasantly surprised that our footage
matched

as

well

as

it did when

we

obtained the
our

final

dupe negative to make
print.

"We also needed material

suggest the

to

present-day Wilson's

mental

image of fenny and her life
leading up to her death, so we had to
find a visual way to suggest that
concept. What we ended up doing
was
throwing the shutter out of sync,
which creates a vertical streaking
effect in the footage, especially with
strong highlights.
"I ended up using a strong
Krypton-bulb flashlight, which we
move

across

bodies

to

the actors' faces and

help create a creepy, inter¬
rogative effect. Clairmont Camera
was
very helpful in working with us
to create the effect we were
seeking.
With his nearly impenetrable
English accent, the gruff Wilson "is
very dislocated and misplaced,"
Lachman says. "He's never been out
of East London, let's say. He's also
been in prison for a number of years,
so images of him needed to have that
sense of
being out of place and
uncomfortable, and we tried to
suggest that with the lighting. For
example, in some scenes we'd use
very intense lighting in certain areas,
forcing Wilson to readjust himself
because of the brightness."
One

is

a

example of this technique
recurring shot in which the surly

character
58 November 1999

meditates

in

his

seat



American Cinematographer - November 1999

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