American Cinematographer - May 2003 - 80
Life
on
the Lam
fluorescents."
This
peculiarity helped the
cinematographer create a contrast
between the
eastern
and
western
worlds within Phnom Penh. He used
incandescent
sources
only to light
a
European enclave: the Belleville
Hotel and its bar
the street,
across
by Corsican expatriate Emile
run
(Gerard Depardieu). This is Jimmy's
first destination in his hunt for the
elusive Marvin, and it's filled with
details that signal its western sensibil¬
ity, including Emile's dusty turntable
Jaques Dutronc tunes and
the bar's motley clientele of U.S. war
with its
"The Belleville is the
veterans.
one
place in Cambodia where you do see
an incandescent
light, so it represents
the European incursion," says
Denault.
The
Tucked away
from authorities'
prying eyes,
Marvin (Caan)
enjoys the good
life in
Cambodia.
eventually locates the expatriate
con
artist, who tries to convince him to
scheme: the development
of a large casino in partnership with
a
Cambodian ex-general. But
join
a new
Marvin is in
sucked into
his head and gets
world of violence and
over
a
a
phere relating to the characters who
in our movie."
Denault says his primary
pop up
visual stimulus
was
Cambodia itself.
Like Dillon, he
was
fascinated by its
he should watch to prepare.
of Bamboo
I don't know how you can get it,
just watch it,"' Denault recalls.
Indeed, locating a copy of this Sam
Fuller film wasn't easy. The Museum
of Modern Art ultimately showed
Denault a print from the personal
menacing as the underground econ¬
omy springs into action. During 12
weeks of preproduction, Denault
was also struck by Cambodia's differ¬
ent approach to everyday lighting:
collection of Martin Scorsese. Set in
was
"It's all fluorescent. There isn't
incandescent
lightbulb in the
an
coun¬
try, I think." What's more, the vogue
for
of Bamboo
garishly colored fluorescents.
"People use colored fluorescent lights
Dillon's
for mood, for effect, the way some¬
project: it's about a community of
expatriate gangsters and shady char¬
acters in a country that's just getting
on its feet after a war.
"Visually it
body here would dim down the
tungsten in a fancy restaurant to
some
similarities
to
create
a
warm
they'd turn
ambience. There,
on some
pink
or
yellow
a
bunch of
open-faced 2K and IK quartz lights.
It was a pretty small package, but
even if I'd had more
lights, we
transport
black, and the mood becomes
bears
bunch of Kino Flos and
wouldn't have had the
were
postwar Japan, House
four
four 1.2K Pars, four Jokers, a
reflected in the film.
Denault asked Dillon if there
-
He ticks off the final list: "A 12K,
4K Pars,
wild mood
swings, which came to be
During the day,
it's a land of lush, green jungles,
decaying French Colonial architec¬
ture in beautiful pastels, and a rain¬
bow of colors on the crowded city
streets. When night falls, the palette
turns candy-colored and molten
"Matt said, 'Watch House
May 2003
influence," says
similar atmos¬
an
Denault, "but it had
deception that even he can't master,
while Jimmy finds himself pulling
back from his longtime mentor. "It's
an atmospheric thriller, but also the
story of redemption, the journey of a
man breaking away from old ideas
and corrupt influences," says Dillon.
Before leaving for Cambodia,
any films
74
wasn't much of
complete absence of such
lights elsewhere allowed Denault to
whittle down his lighting package.
means
them."
And
there's
the
Cambodia's ruined roads
sible for
-
to
there
to
big trucks
traverse.
-
rub.
impos¬
much else
are
or
However, because
equipment-rental
grip and
lighting equipment had to be
brought in somehow from a rental
house in Bangkok, the Hong Kongbased Cinerent. Fortunately, the
production's crew included two
Israelis who had just the right mind¬
set to tackle such a challenge. One
was line producer Rony Yakov. "He's
are
no
houses in Cambodia, the
a
veteran
of all those Cannon films,
including Bloodsport and Delta
Denault. "He decided that
we had to invent just
enough of the
film business here to get the movie
Force" says
done, and not
an
inch more." Yakov
brought in production manager
Danny Ben Menachem, whose
American Cinematographer - May 2003
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