American Cinematographer - October 2002 - 73

brought us all within another. Wes
Bentley did a brilliant job acting.
Emotionally I was charged.

tion. Not when my arms
camera,

though

-

cradle the
then I touch the

zone.

cliff. I knew

wouldn't make the

we

schedule without sacrificing the stunt
-

or

rather, without sacrificing the
or at least my involve¬

light quality
Oct. 13: First set of dailies in.

Quite

lovely. Large in scale/scope. What was
I thinking? Why am I always so hard
on
myself? Yvan's timing is superb.
Rich blacks, baking hot whites. Will
the quality prevail?

Nov. 5:

Light dropped fast with an
incoming storm. Black rain clouds
scratched the sky. Four massive shots
owed before

a

late-affernoon

ment.

And

cross,

Heath

it

was.

as

usual. He bears the

Ledger

but who doesn't these days?

stunt

sequence. 600 extras strewn through
a ravine. Two cameras. A hundred

Dec. 2:

feet of track. A

out once

crane

so

looks excellent

hanging from

a

Deep into sniper village.

Some of it is excellent. Wes drew

again. Do love his

me

eyes

-

Oct. 18:

Nights! How easy it is to hate
nights. Cold weather. Vast, flat land¬
scape. No end in sight.
Pulled out The Passion of Joan
of Arc. Profoundly poetic. I am
desperately searching for meaning,
for definition, for shape to my work.
Losing focus.

More than meets the eye

If

Oct. 23:

Eight consecutive days of
working 14 hours. Energy levels are
weakening. Concentration remains
strong but less than consistent.
Yesterday, Sunday, as the afternoon
wore

the

on, a rare

area

and

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Oct. 25: Awoke to

freezing tempera¬
ground. By noon
we were all baking. Blacks up, blacks
down. Silks up, silks down. [Gaffer]
Chuck Finch is going insane, but the
help here is exceptional - excep¬
tures. Frost on

the

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Oct. 26:

Falling behind slightly. A day
virtually a day. We'll catch up but
the loss is hard. My blood always

K°, LB, CC, Lux

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eye

of light intensities

-

chills when

we

fall behind.

Nov. 3: I have

always felt an allconsuming passion for the process of
filmmaking, yet within this drive I
often feel that I lose my concentra¬

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American Cinematographer - October 2002

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