American Cinematographer - December 1999 - 26

Shooting on location in Malaysia was no picnic for Deschanel, particularly when
lighting expansive nighttime exteriors to T3.5 to T4 for realistic depth of field, using
illumination motivated by lamps or candles.
film. "There's

the

softer toward the end," he offers.

constructed because of limits in time and

Deschanel's
almost
dollies

cameras

were

always either tracking from
or cranes

to reflect Leonowens's

she explored and dis¬
covered new things. "Sometimes we'd
start with a relatively small shot, pan

viewpoint

as

around and then reveal that she's in

a

massive

complex," Deschanel details.
"For the scene in which she explores the
palace grounds for the first time, we
used

an

Akela

crane.

We wanted the

audience to

experience the opulence and
incredible grandeur of the palace."
Deschanel used intimate close-

of Leonowens and Mongkut to
expressions that
provide crucial emotional subtext.
"Basically, these two people think
differently," the cameraman explains.
"You can see how they respond to what
they see and hear in their expressions
and eyes. Sometimes that's the only
way you can truly tell how they feel.
You can hear Anna holding her ground
ups

reveal subtle facial

in
MAGNUM DOLLY

*

POWER-POD REMOTE HEAD

AEROCRANEUSA, INC.
16139

Wyandotte Street, Van Nuys, CA 91406
email: aerocrane@aol.com

http://www.aerocraneusa.com
24

Phone: (818)785-5681 Fax: (818)785-5683
Toll Free: (888) 766-0650

Siam

a certain severity in the
beginning, and she becomes a little bit

a

discussion with the

have to

face and

see

king, but

you

the determination in her

eyes."

Anna and the

King did require
some digital effects work to fully present

of the

1860s

(including

extensions of sets where roofs weren't

budget, and some enhancements to
battle sequences), but the onscreen
vistas are primarily the result of
Deschanel's photography.
"Andy and I worked well
together," the cameraman concludes.
"He had his

own

ideas, but he

was open

hearing mine. The environment and
grand scale of the settings make the
story an incredible spectacle, but I think
the film's real strengths are the
to

characters and actors. Great actors have

ability to reveal themselves to the
audience; you can see who they are
an

under the surface.

They make you care
empathize with their
characters. Both Jody Foster and Chow
Yun-Fat have that ability. By the end of
the picture, you feel as if you know them,
and you approve of their friendship."
about

and

A Dramatic

Quest

by Mark Dillon
At the 1999 Toronto International

Film Festival

director

(held from Sept. 9-18),

Atom

Egoyan
and
cinematographer Paul Sarossy, CSC
became hometown heroes with their



American Cinematographer - December 1999

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

American Cinematographer - December 1999 - 1
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