American Cinematographer - August 2002 - 28
Clockwise from
Lachman and
top: The crew
captures a shot
Roelfs (Gattaca, Prospero's Books), his
staff had compiled thousands of pictures
for
Taransky's
stylized opus,
which makes
Simone
a star;
director of
photography Ed
Lachman, ASC
(wearing hat),
first AC
Barry
of studio lots
production designer Jan
as
well
as
the houses and
hangouts of movie royalty. Every location
described in the script had pages of
accompanying visual references.
Lachman says he benefitted from
this form of visual communication, and he
Iodine, dolly grip
praises Roelfs for being
Paul Threlkeld
and operator Phil
group of designers who completely
understand how the camera will actually
Carr-Foster line
up a
shot
on
location; and
Taransky finds
himself behind
bars after taking
desperate
measures to
escape
Simone's
shadow.
among a
small
the sets. "It's very
the muslins I
and
Later,
eyes, Hollywood appears
grander than it actually is.
In addition to employing Antique Suede
filters, Lachman lit the actors in the style
of classic Hollywood portraiture -
motivation took a back seat to glamour.
"I used more hard light than I usually
usually use."
when Taransky locks
himself away inside a massive soundstage with his computer, the visuals take
a different turn. "The digital world is a
cool world, whereas the film world is
warm," Lachman says. "The soundstage
10Ks and 5K
where he works with his computer
makes Simone is done in greens
architecture and colors in the set repro¬
duce on film," Lachman explains. "Jan
Skypans to effect the
period lighting of the 1930s."
In addition to shooting through
has
muslin, Lachman used "a material I'd
film. That
see
stand how the
an
important to under¬
spatial relationships of the
intuitive
understanding of this; he
knows what the
camera sees
that will
difference to the film's look. It
make
a
was a
pleasure to work with him."
As
Simone
opens,
we
see
Taransky on the Amalgamated lot, trying
to hold onto his new picture as the
project crumbles around him. As seen
24
through his
warmer
do," he notes. "We used Arcs, 20Ks,
used before. It's
actually the mate¬
rial used to make black Duvetyn flags,
but instead of being dyed black, it's in its
never
natural white state
or
bleached. I had 8-
by-8, 12-by-12, 12-by-20 and 20-by-20
frames of this stuff made. Its thickness
and softness
were
preferable to that of
and
and
yellows and blues to create a world that
feels more 'digital' than the rest of the
was a
conscious choice
on
my
part to show the contrast between these
two worlds. I started out as a
painter, so
always like to use colors psychologi¬
cally, to tell you something about what's
going on with the characters."
For those soundstage scenes,
Lachman decided to create the impresI
American Cinematographer - August 2002
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