American Cinematographer - January 2000 - 92

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another effect going on as well, so
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sill that

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that take. In the other take, where

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was in focus, the guards
looking at the right spot in
the air. The effects team helped us
out by compositing the two different
takes together, using the cell's cement
sill like a traveling matte. In the end
result, you see the shot of Coffey

Coffey

weren't

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the

was

camera moves

in focus,

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the

sill, we segue into the other take, and
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Do you give your actors much
direction, or do you believe, like
Alfred Hitchcock did, that casting is

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cement

guards, who react as the
bugs dissipate and vanish.
We nailed a pretty great shot,
except that our focus was bad on
Coffey at the beginning, and the
guards' performances were best in

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heads of the

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ing and then fly out over the guards,
are standing out on 'The Mile.'
The camera rises up from Coffey and
moves
through this little row of bars,

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begins with the camera looking
down at Coffey in his cell. He throws
his head back, and these buglike
things pour out of his mouth, flutter
around like moths towards the ceil¬

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once you cast them?
Darabont: I don't know that I

actors go

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'let them go,' necessarily. For me,
directing actors is really about grada¬
tions of the tone, if you will. I think
I'm fairly straightforward with my
direction. Every once in a while, I'll
get into some sort of vague territory
where I'm trying to tweak their
emotions by talking about some¬
thing conceptual, but usually my
directions are more along the lines of
'Can you do it quieter?' or 'Do it a
little less happy' or 'Can you be a bit
more pensive here?' It's that sort of

American Cinematographer - January 2000

Table of Contents for the Digital Edition of American Cinematographer - January 2000