American Cinematographer - November 1999 - 62

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Wilson visibly
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We

Accept MC/VISA

an airliner
bringing him to
Angeles. While shooting on the

aboard
Los

aircraft interior set, "Steven wanted
to continue with our naturalistic

style by having the windows burning
and the light pouring in,"
Lachman says. "To do that, we put an
incredible amount of light into a eye
out

that surrounded the
20Ks

.

H16 BOLEX BIBLE / both books

employed his personal set of
Speed Panchro lenses while shoot¬
ing The Limey, noting that the vintage
optics added a suitable look to the film's
retro style.

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on

the locations. For instance,

times

even

Green

gel to them to make

We then had

set.

complicated rig, consisting of three
on a crane

arm,

that simulated

the way sunbeams move around
inside a plane interior as the aircraft

changes direction. We kept the light¬
ing inside the plane very low, which
allowed the eye to burn out and bleed
a

bit, and the 20Ks

very strong shafts
four stops over key.
on

Terence

Par into

window

a

to

to

project these

inside at about
Then, specifically

Stamp, I bounced
mirror and

further burn

a

6K

though his
out

the left

side of his face. That way, the light
became an intrusion on him." This

add Plus Green

just

some¬
or

Full

sure

they

looked like fluorescents."
In

Cooke

a

BOLEX SUPPORT

A BOLEX HISTORY cameras,

Lachman

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495.00
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fluorescent situation, we'd

a

light with fluorescents, and

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lighting plans and

trying to control
the exteriors as much as I usually
would, and we'd always try to
continue with whatever lighting we

KERN ZOOM LENSES without Aspheron

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tion. "We weren't

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f2.0 Vario-Switar PTL MC "B"16 $ 6,168.00
f2.3 V-Switar PTL MC "B" 16/S 16 $ 8,443.00
f2.0 Vario-Switar MC "B" or "C"16 $ 5,066.00
f2.3 Vario-Switar MC "B7"C"16/S16 $ 7,341.00

419.00
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shot

that this approach directly influenced

Multicoated w/6.5

.

was

location," notes Lachman, who adds

395.00

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EBM Pack 12V/1.2Ah w/Pwr/Rlse Cble $
EBM/ESM/EM Handgrip Batt 12V/1Ah .. $
EL/EBM/ESM/EM Batt Chrgr Overnight $
ELVEBM/ESM/EM 12V Battery Charger $

atop

"Almost the entire film

1,850.00

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Wilson

of East L.A. and faceless suburbs of

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75mm f1.9 Macro-Switar PD Multicoated "C" $
75mm f 1.9 Macro-Switar PD Multicoated "B" $

trails

a spectrum of Southern
California milieus, from the barrios

5,469.00
16/Super 16 (US) $ 4,544.00

H16 RX-5 Camera 13x VF w/1.33 TV Mask

Limey

though

one

exterior scene,

his

extended

nighttime

Wilson pays a call on

daughter's friend Ed (Luis

Guzman), who had notified him of
Jennifer's death. Seeking answers,
Wilson also

gains Ed's confidence,
unlikely pair begin their
investigation. "In that scene, there's
this particular two-shot in which you
and the

can

see

the

entire

downtown

cityscape of Los Angeles lit up in the
background," Lachman says. "When
you work off of whatever light exists
and we were shooting wide open
at T 1.4
you can get an interesting
sense of depth, because sources far in
-

-

the distance aren't

being overpow¬
shooting at T2.8 or
a 4,
you lose those backgrounds, so I
always tried to light off of what I
ered. If you start

found

on

the

location,

so

our

perceived set would be much greater
than what I could actually light. I
know that

cameramen like John
[ASC, ACS] and Chris Menges
[BSC] sometimes do that as well. You

Seale

can

you

get a very different look when
light that way, and it's not just in
American Cinematographer - November 1999

Table of Contents for the Digital Edition of American Cinematographer - November 1999
