American Cinematographer - September 2000 - 149

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MOTION PICTURE
FILMING TECHNIQUES

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Clockwise from the top:

John unfolds
primarily in the men's bathroom of an
upscale restaurant; cinematographer
David A. Armstrong prepares for a shot;
worked at the restaurant for decades,

but when his boss's

son

takes

business, the attendant hears

over

the

a rumor

that his

job might be in jeopardy. One
night, after hesitating all evening, John
musters the courage to approach his
new boss, only to learn that his fears
were baseless
John's job remains
intact, and the only change in the men's
room will be from cloth to paper towels.
A relieved John packs up his
station at the end of the night and says
good-bye to his co-workers. After he
-

walks

a

short distance from the restau¬

rant, he

AADrmaocvsuti.rfdotensgy
Phot s

speed-dials his wife on his cell
phone and rattles off a number of busi¬
ness tips he heard while attending to
customers that evening. The movie ends
with our hero clicking off the phone and
driving away in a shiny new silver
Mercedes with a personalized license
plate that reads "John." According to
Armstrong, audiences at film festivals
invariably cheer at the ending. "It's a
great 'we gotcha,' and we gotcha in a
nice way," he says.
Most of the action in John takes

restaurant interiors were

Matteo's in Los

Motion Picture

filmed at

The Five C's is

Angeles.

place in the restaurant bathroom, which
a constructed set. "My lighting
approach involved small tidbits that
added up to the look I wanted,"
Armstrong says. "I didn't use big sources
on John. This kind of lighting wasn't
possible 10 or 20 years ago [because]
film stocks were not as sensitive as they
was

are

Filming Techniques

by Joseph V Masce#

one

of the most

widely respected books

filmmaking

ever

of hundreds of

on

published. With the aid

photographs and

diagrams, it clearly and concisely
presents the essential concepts and

techniques of motion picture

now."
The movie

venerable Los

was

also shot in

a

Angeles restaurant called
agreed that

camerawork, and how these impact
the allied

areas

of filmmaking.

Matteo's. "The director and I
the restaurant had to be
says

Armstrong. "It

a

character,"

was very

important

to find a restaurant that was well-estab¬

lished." Matteo's, an old-time

Hollywood
frequented by famous
patrons such as the late Frank Sinatra, fit
the bill perfectly. However, the restaurant
was available to the filmmakers only
when it wasn't open; from 5 a.m. to 3
p.m. daily. Armstrong therefore had to
find a way to light quickly and efficiently
while minimizing the amount of equip¬
haunt

once

ment that would have to be torn down at

147



American Cinematographer - September 2000

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

American Cinematographer - September 2000 - 1
American Cinematographer - September 2000 - 2
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