American Cinematographer - April 2001 - 50
Girl Trouble
After Jewel
effectively bans
him from his
own
home,
Randy turns to
an aging hitman,
Burmeister
shot in
much
a
simpler
manner on
shorter schedules, and they some¬
times have greater impact because
didn't come in with any precon¬
ceived ideas about how we were
going to shoot scenes, and everything
was derived from the actors'
perfor¬
mances and their
blocking, the shoot
went very smoothly because we were
allowing them to perform without
our
technical restrictions. We didn't
put them in certain corners just
because there
nice
background
Shooting
that way was a really great experience
because it was entirely characterdriven. We didn't put one light up
or
was a
because it looked better.
before
did
rehearsals.
hope all of those
meant I
had
to
one.
Sometimes
alter
a camera
position because a different angle
than I imagined might be more
effective, but that could occasionally
save five hours of setup time. That's
part of the process, especially on a
smaller picture - you have to make
a
day if you can. I think Harald did a
wonderful job getting the actors to
do things they didn't think of in the
rehearsal but discovered later.
I
understand
that
you
things differently than
and forth, and I
Panavision
anamorphic
and
so
we
went
finally
shot
a
he could
you
back
went to
in
test
see
the
difference.
Zwart: All I could think was,
'God, that looks good! Yeah, let's go
with
'Scope!' I knew that we could
easily done that because of
Walter's experience with anamor¬
phic. Ultimately, [using 1.85:1] was
really [based on] the creative deci¬
sion that CinemaScope is not funny.
Lindenlaub: Many people
have used anamorphic to good effect
have
in comedies. I've
Lindenlaub: I don't believe in
this film in widescreen. How did
that. In my experience, it always
backfires
you just end up lighting
you make the choice to go with a
standard 1.85:1 frame instead?
couple of times, and I think it
worked fine. But I think it was good
our
everything twice. It's always a delicate
April 2001
cameraman, we
little movies become
certain
would for 1.85:1. So
initially thought about shooting
we
-
48
rehearsing and
the inference of the director and the
that
help
widescreen, and you have to stage
heads. Then, out of
Douglas), to help
would
they all
ideas.
Zwart: Because Walter and I
CinemaScope
little movie in their
different intentions, because
had their
own
that
elevate this little story. But Harald
had
never
shot
anything in
they really had to come up with good
(Michael
him solve "the
Jewel problem."
process, isn't it? Every individual who
came into our rehearsal
process had
Lindenlaub: I
originally felt
that
a
we
even
tried it
a
shot this film in 1.85. We had
number of small
sets
where it
was
American Cinematographer - April 2001
Table of Contents for the Digital Edition of American Cinematographer - April 2001
American Cinematographer - April 2001 - 1
American Cinematographer - April 2001 - 2
American Cinematographer - April 2001 - 3
American Cinematographer - April 2001 - 4
American Cinematographer - April 2001 - 5
American Cinematographer - April 2001 - 6
American Cinematographer - April 2001 - 7
American Cinematographer - April 2001 - 8
American Cinematographer - April 2001 - 9
American Cinematographer - April 2001 - 10
American Cinematographer - April 2001 - 11
American Cinematographer - April 2001 - 12
American Cinematographer - April 2001 - 13
American Cinematographer - April 2001 - 14
American Cinematographer - April 2001 - 15
American Cinematographer - April 2001 - 16
American Cinematographer - April 2001 - 17
American Cinematographer - April 2001 - 18
American Cinematographer - April 2001 - 19
American Cinematographer - April 2001 - 20
American Cinematographer - April 2001 - 21
American Cinematographer - April 2001 - 22
American Cinematographer - April 2001 - 23
American Cinematographer - April 2001 - 24
American Cinematographer - April 2001 - 25
American Cinematographer - April 2001 - 26
American Cinematographer - April 2001 - 27
American Cinematographer - April 2001 - 28
American Cinematographer - April 2001 - 29
American Cinematographer - April 2001 - 30
American Cinematographer - April 2001 - 31
American Cinematographer - April 2001 - 32
American Cinematographer - April 2001 - 33
American Cinematographer - April 2001 - 34
American Cinematographer - April 2001 - 35
American Cinematographer - April 2001 - 36
American Cinematographer - April 2001 - 37
American Cinematographer - April 2001 - 38
American Cinematographer - April 2001 - 39
American Cinematographer - April 2001 - 40
American Cinematographer - April 2001 - 41
American Cinematographer - April 2001 - 42
American Cinematographer - April 2001 - 43
American Cinematographer - April 2001 - 44
American Cinematographer - April 2001 - 45
American Cinematographer - April 2001 - 46
American Cinematographer - April 2001 - 47
American Cinematographer - April 2001 - 48
American Cinematographer - April 2001 - 49
American Cinematographer - April 2001 - 50
American Cinematographer - April 2001 - 51
American Cinematographer - April 2001 - 52
American Cinematographer - April 2001 - 53
American Cinematographer - April 2001 - 54
American Cinematographer - April 2001 - 55
American Cinematographer - April 2001 - 56
American Cinematographer - April 2001 - 57
American Cinematographer - April 2001 - 58
American Cinematographer - April 2001 - 59
American Cinematographer - April 2001 - 60
American Cinematographer - April 2001 - 61
American Cinematographer - April 2001 - 62
American Cinematographer - April 2001 - 63
American Cinematographer - April 2001 - 64
American Cinematographer - April 2001 - 65
American Cinematographer - April 2001 - 66
American Cinematographer - April 2001 - 67
American Cinematographer - April 2001 - 68
American Cinematographer - April 2001 - 69
American Cinematographer - April 2001 - 70
American Cinematographer - April 2001 - 71
American Cinematographer - April 2001 - 72
American Cinematographer - April 2001 - 73
American Cinematographer - April 2001 - 74
American Cinematographer - April 2001 - 75
American Cinematographer - April 2001 - 76
American Cinematographer - April 2001 - 77
American Cinematographer - April 2001 - 78
American Cinematographer - April 2001 - 79
American Cinematographer - April 2001 - 80
American Cinematographer - April 2001 - 81
American Cinematographer - April 2001 - 82
American Cinematographer - April 2001 - 83
American Cinematographer - April 2001 - 84
American Cinematographer - April 2001 - 85
American Cinematographer - April 2001 - 86
American Cinematographer - April 2001 - 87
American Cinematographer - April 2001 - 88
American Cinematographer - April 2001 - 89
American Cinematographer - April 2001 - 90
American Cinematographer - April 2001 - 91
American Cinematographer - April 2001 - 92
American Cinematographer - April 2001 - 93
American Cinematographer - April 2001 - 94
American Cinematographer - April 2001 - 95
American Cinematographer - April 2001 - 96
American Cinematographer - April 2001 - 97
American Cinematographer - April 2001 - 98
American Cinematographer - April 2001 - 99
American Cinematographer - April 2001 - 100
American Cinematographer - April 2001 - 101
American Cinematographer - April 2001 - 102
American Cinematographer - April 2001 - 103
American Cinematographer - April 2001 - 104
American Cinematographer - April 2001 - 105
American Cinematographer - April 2001 - 106
American Cinematographer - April 2001 - 107
American Cinematographer - April 2001 - 108
American Cinematographer - April 2001 - 109
American Cinematographer - April 2001 - 110
American Cinematographer - April 2001 - 111
American Cinematographer - April 2001 - 112
American Cinematographer - April 2001 - 113
American Cinematographer - April 2001 - 114
American Cinematographer - April 2001 - 115
American Cinematographer - April 2001 - 116
American Cinematographer - April 2001 - 117
American Cinematographer - April 2001 - 118
American Cinematographer - April 2001 - 119
American Cinematographer - April 2001 - 120
American Cinematographer - April 2001 - 121
American Cinematographer - April 2001 - 122
American Cinematographer - April 2001 - 123
American Cinematographer - April 2001 - 124
American Cinematographer - April 2001 - 125
American Cinematographer - April 2001 - 126
American Cinematographer - April 2001 - 127
American Cinematographer - April 2001 - 128
American Cinematographer - April 2001 - 129
American Cinematographer - April 2001 - 130
American Cinematographer - April 2001 - 131
American Cinematographer - April 2001 - 132
American Cinematographer - April 2001 - 133
American Cinematographer - April 2001 - 134
American Cinematographer - April 2001 - 135
American Cinematographer - April 2001 - 136
American Cinematographer - April 2001 - 137
American Cinematographer - April 2001 - 138
American Cinematographer - April 2001 - 139
American Cinematographer - April 2001 - 140
https://www.nxtbook.com/nxtbooks/ac/ac1209
https://www.nxtbook.com/nxtbooks/ac/ac1109
https://www.nxtbook.com/nxtbooks/ac/ac1009
https://www.nxtbook.com/nxtbooks/ac/ac0909
https://www.nxtbook.com/nxtbooks/ac/ac0809
https://www.nxtbook.com/nxtbooks/ac/ac0709
https://www.nxtbook.com/nxtbooks/ac/ac0609
https://www.nxtbook.com/nxtbooks/ac/ac0509
https://www.nxtbook.com/nxtbooks/ac/ac0409
https://www.nxtbook.com/nxtbooks/ac/ac0309
https://www.nxtbook.com/nxtbooks/ac/ac0209
https://www.nxtbook.com/nxtbooks/ac/ac0109
https://www.nxtbook.com/nxtbooks/ac/ac1208
https://www.nxtbook.com/nxtbooks/ac/ac1108
https://www.nxtbook.com/nxtbooks/ac/ac1008
https://www.nxtbook.com/nxtbooks/ac/ac0908
https://www.nxtbook.com/nxtbooks/ac/ac0808
https://www.nxtbook.com/nxtbooks/ac/ac0708
https://www.nxtbook.com/nxtbooks/ac/ac0608
https://www.nxtbook.com/nxtbooks/ac/ac0508
https://www.nxtbook.com/nxtbooks/ac/ac0408
https://www.nxtbook.com/nxtbooks/ac/ac0308
https://www.nxtbook.com/nxtbooks/ac/ac0208
https://www.nxtbook.com/nxtbooks/ac/ac0108
https://www.nxtbook.com/nxtbooks/ac/ac1207
https://www.nxtbook.com/nxtbooks/ac/ac1107
https://www.nxtbook.com/nxtbooks/ac/ac1007
https://www.nxtbook.com/nxtbooks/ac/ac0907
https://www.nxtbook.com/nxtbooks/ac/ac0807
https://www.nxtbook.com/nxtbooks/ac/ac0707
https://www.nxtbook.com/nxtbooks/ac/ac0607
https://www.nxtbook.com/nxtbooks/ac/ac0507
https://www.nxtbook.com/nxtbooks/ac/ac0407
https://www.nxtbook.com/nxtbooks/ac/ac0307
https://www.nxtbook.com/nxtbooks/ac/acbest2006
https://www.nxtbook.com/nxtbooks/ac/ac0207
https://www.nxtbook.com/nxtbooks/ac/ac0107
https://www.nxtbook.com/nxtbooks/ac/ac200612
https://www.nxtbook.com/nxtbooks/ac/ac200611
https://www.nxtbook.com/nxtbooks/ac/ac200610
https://www.nxtbook.com/nxtbooks/ac/ac200609
https://www.nxtbook.com/nxtbooks/ac/ac200608
https://www.nxtbook.com/nxtbooks/ac/ac200607
https://www.nxtbook.com/nxtbooks/ac/ac200606
https://www.nxtbook.com/nxtbooks/ac/ac200605
https://www.nxtbook.com/nxtbooks/ac/ac200604
https://www.nxtbook.com/nxtbooks/ac/ac200603
https://www.nxtbook.com/nxtbooks/ac/ac200602
https://www.nxtbook.com/nxtbooks/ac/ac200601
https://www.nxtbook.com/nxtbooks/ac/ac200512
https://www.nxtbook.com/nxtbooks/ac/ac200511
https://www.nxtbook.com/nxtbooks/ac/ac200510
https://www.nxtbook.com/nxtbooks/ac/ac200509
https://www.nxtbook.com/nxtbooks/ac/ac200508
https://www.nxtbook.com/nxtbooks/ac/ac200507
https://www.nxtbook.com/nxtbooks/ac/ac200506
https://www.nxtbook.com/nxtbooks/ac/ac200505
https://www.nxtbook.com/nxtbooks/ac/ac200504
https://www.nxtbook.com/nxtbooks/ac/ac200503
https://www.nxtbook.com/nxtbooks/ac/ac200502
https://www.nxtbook.com/nxtbooks/ac/ac200501
https://www.nxtbook.com/nxtbooks/ac/ac200412
https://www.nxtbook.com/nxtbooks/ac/ac200411
https://www.nxtbook.com/nxtbooks/ac/ac200410
https://www.nxtbook.com/nxtbooks/ac/ac200409
https://www.nxtbook.com/nxtbooks/ac/ac200408
https://www.nxtbook.com/nxtbooks/ac/ac200407
https://www.nxtbook.com/nxtbooks/ac/ac200406
https://www.nxtbook.com/nxtbooks/ac/ac200405
https://www.nxtbook.com/nxtbooks/ac/ac200404
https://www.nxtbook.com/nxtbooks/ac/ac200403
https://www.nxtbook.com/nxtbooks/ac/ac200402
https://www.nxtbook.com/nxtbooks/ac/ac200401
https://www.nxtbook.com/nxtbooks/ac/ac200312
https://www.nxtbook.com/nxtbooks/ac/ac200311
https://www.nxtbook.com/nxtbooks/ac/ac200310
https://www.nxtbook.com/nxtbooks/ac/ac200309
https://www.nxtbook.com/nxtbooks/ac/ac200308
https://www.nxtbook.com/nxtbooks/ac/ac200307
https://www.nxtbook.com/nxtbooks/ac/ac200306
https://www.nxtbook.com/nxtbooks/ac/ac200305
https://www.nxtbook.com/nxtbooks/ac/ac200304
https://www.nxtbook.com/nxtbooks/ac/ac200303
https://www.nxtbook.com/nxtbooks/ac/ac200302
https://www.nxtbook.com/nxtbooks/ac/ac200301
https://www.nxtbook.com/nxtbooks/ac/ac200212
https://www.nxtbook.com/nxtbooks/ac/ac200211
https://www.nxtbook.com/nxtbooks/ac/ac200210
https://www.nxtbook.com/nxtbooks/ac/ac200209
https://www.nxtbook.com/nxtbooks/ac/ac200208
https://www.nxtbook.com/nxtbooks/ac/ac200207
https://www.nxtbook.com/nxtbooks/ac/ac200206
https://www.nxtbook.com/nxtbooks/ac/ac200205
https://www.nxtbook.com/nxtbooks/ac/ac200204
https://www.nxtbook.com/nxtbooks/ac/ac200203
https://www.nxtbook.com/nxtbooks/ac/ac200202
https://www.nxtbook.com/nxtbooks/ac/ac200201
https://www.nxtbook.com/nxtbooks/ac/ac200112
https://www.nxtbook.com/nxtbooks/ac/ac200111
https://www.nxtbook.com/nxtbooks/ac/ac200110
https://www.nxtbook.com/nxtbooks/ac/ac200109
https://www.nxtbook.com/nxtbooks/ac/ac200108
https://www.nxtbook.com/nxtbooks/ac/ac200107
https://www.nxtbook.com/nxtbooks/ac/ac200106
https://www.nxtbook.com/nxtbooks/ac/ac200105
https://www.nxtbook.com/nxtbooks/ac/ac200104
https://www.nxtbook.com/nxtbooks/ac/ac200103
https://www.nxtbook.com/nxtbooks/ac/ac200102
https://www.nxtbook.com/nxtbooks/ac/ac200101
https://www.nxtbook.com/nxtbooks/ac/ac200012
https://www.nxtbook.com/nxtbooks/ac/ac200011
https://www.nxtbook.com/nxtbooks/ac/ac200010
https://www.nxtbook.com/nxtbooks/ac/ac200009
https://www.nxtbook.com/nxtbooks/ac/ac200008
https://www.nxtbook.com/nxtbooks/ac/ac200007
https://www.nxtbook.com/nxtbooks/ac/ac200006
https://www.nxtbook.com/nxtbooks/ac/ac200005
https://www.nxtbook.com/nxtbooks/ac/ac200004
https://www.nxtbook.com/nxtbooks/ac/ac200003
https://www.nxtbook.com/nxtbooks/ac/ac200002
https://www.nxtbook.com/nxtbooks/ac/ac200001
https://www.nxtbookmedia.com