American Cinematographer - April 2001 - 53
commercials.
They have
a very
long time for close-ups, and I prefer
distinct, dark look, and he likes to use
them
extremely wide-angle lenses. I
thought we should incorporate some
people
of that look in the movie.
I also wanted to
character his
give every
base color, and I
own
initially thought I could do that with
a
-
Panaflasher
or
Varicon. I did
and I would have done
had
more
time
-
a
more
test
if I'd
but I didn't put
enough color in, and we couldn't
really see the effect very well.
Unfortunately, we didn't have time to
pursue that idea; it would have been
one way for the audience to identify
the different points of view. Harald
then sort of pushed me to keep
things simpler. I was a bit disap¬
pointed in the beginning, because
this was a chance to try some things
I'd always wanted to do. But it's diffi¬
cult to commit yourself to do all
kinds of special color work during
to
the Kino Flos that
a
lot of
for close-ups today. I
are great for situations
where they reflect the environment,
like if you're shooting in a supermar¬
ket
I'd be happy to use them in
there. Even the daylight-balanced
use
think Kinos
the colors look artificial.
are on.
In this case, I
-
fluorescents still have
a
little bit of
green in them, and I can always see
that. I think it creates an almost 'digi¬
tal' look. There's
about the
strange crispness
light, but it's soft at the
a
a
classic
and
to
It
also
becomes
portrait approach to Liv,
give her a key light from her eyes
the
center
of her cheekbones, with
little flecks and stuff. I'd then
my
change
approach to her face depending
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director.'With
complicated story,
I think the simplicity in the lighting,
and the way the characters are, helps
clarify the movie. I think it's beauti¬
ful, especially the way Walter lit Liv
with some of his classic techniques.
I'm from the Kino Flo generation,
but he had a wonderful lighting tech¬
nique using traditional lamps that
gave her a beautiful look. I think
that's a good contribution to the style
of the film, as opposed to some fancy,
flashy technique. It's also effective in
terms of the story, because Liv is just
gorgeous every time people see her.
sure
that
done with little
snoots I
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things you have to try and hide.
Sometimes you don't always succeed.
The lighting Harald describes
tungsten
-
our
Walter, I'm
was
sometimes used
where I could shade her forehead
the shoot, because if it doesn't work,
you
time. It's
something that makes
Any kind of
tungsten light has a more consistent
spectrum, and that's what I like
about them: when they are on, they
same
put on
lamps. I've done that for
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a
American
Cinematographer 51
American Cinematographer - April 2001
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