American Cinematographer - May 2003 - 34
In
knowing
a
nod to the Doris
Day/Rock
Hudson classic
Pillow Talk, the
filmmakers used
split screens
and careful
choreography to
lend mirth to
a
phone chat
between Novak
and her
nemesis,
caddish
playboy
Catcher Block
(Ewan
McGregor).
and his
tracked down scenic back¬
TransLites. I decided to
"We backlit the
large
[80'x50] diffusion rags and have no
direct light at all. That allowed me to
shoot in many different directions and
control a lot of the light. Shooting that
way gave those scenes a quality remi¬
the Sixties. We used
part of the humor of these movies, so we
niscent of films of that era, which were
all shot on the studio lots. It's a wink to
tungsten sources and put them through
large diffusion rags, or built softboxes to
decided to
the audience.
give them
crew
drops of Manhattan that had actually
been used in films during the Sixties.
"We decided not to try to hide the fact
that these were backdrops," Cronenweth
notes. "We didn't want to hide the fact
that the film's world is
use
an
illusion. That's
backdrops instead of
use
very
large backdrops
Skypans, just like they
did back then," he continues. "Through¬
out the film, I tried to incorporate light
with 5K and 10K
sources
that would've been available in
more
a
lot of normal
direction. I also applied
o
'W
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American Cinematographer - May 2003
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