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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gimmick. Again, I didn't want to
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'Oh, there's another commercial

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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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really tough job, right?
Lindenlaub: [Laughs.] Every
face is different, and you find out
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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