American Cinematographer - December 2001 - 83

physically moving them in and
place. We also passed objects
such as branches and flags in front of
the lights. No single light stayed on
all the time, and we gelled them to
suggest different kinds of lights to
match those in the plates."
crew

out

of

Calvache
process was
almost totally

admits

that

the

nerve-wracking. "It's
intuitive," he observes.

"Because the camera's shutter and

the

projector's shutter are
synchronized, you can't see the image
projected in the rear screen while the
camera is rolling. You can only see
the foreground elements through the
eyepiece or the videotap; the rearscreen is just black. You can't verify
the synchronization of all of the
elements until you actually see the
composite on film. Everything was
based on careful rehearsing, and we
followed Hansard's advice on density
and exposure." He adds that the rearscreen sequences were shot on the 79

at

T2.8, using 25mm

and 35mm

lenses (and an 85mm for one rear¬
view mirror shot). "We did about a

week's worth of rear-screen work in

day and

a

half," Field marvels. "It

could have been
ways.

a

disaster in

so

many

We didn't know how those

sequences
a

a

more than
location was so

turned out for

week because

our

and by then we'd broken
down [the rear-screen setup].

remote,

"I felt like Antonio and I

rear-screen

two

were

kids experimenting and enjoying

it, and that

was

continues. "As

important to me," he

an

actor,

I've

seen

the

dynamic between directors and cine¬
matographers be an adversarial
thing, and I've seen it be a parentchild thing. When it's on an even
keel, it's really nice. It was imperative
that it be an intimate, trusting rela¬
tionship, and that we could also get
excited by each other's ideas."
Field, who has worked with

variety of

a

cameramen as an actor,

producer and director, has high
praise for Calvache's approach to his
craft. "He's braver than I

also

am,

and he

his work. His

lighting is
exquisite, but he doesn't gild it. He's a
very thoughtful artist, and he's very
quiet about his work, almost invisi¬
trusts

ble. He's not concerned that

some¬

might not notice he's doing
good job. It's a very rare quality."
one

a

Of In the Bedroom, Calvache

with characteristic modesty that
"everything in my hands was made

says
to

facilitate the actors' work, and to

the least intrusive way
possible their wonderful perfor¬
capture in

mances." He credits Field for his
determination to not let the

project's
tight schedule and modest budget
determine the quality of the result.
"Even when we were running out of
time," he concludes, "the last thing we
wanted was to compromise the
piece.

■



American Cinematographer - December 2001

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