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

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