American Cinematographer - October 2003 - 74

Walking the Halls of Fate
fluorescent-light pools in

one take,
Savides chose his film stock and

lenses

make

film, Kodak [Vision 500T] 5263,

like the way a film looks when it's
shot at a more open aperture because

accordingly. "We shot
contrasty situations with very flat

Dany Wolf and
Van Sant walk

through

a scene
in the school

library.

blocking a scene and seeing what was
needed, "if I could bounce a light
into the ceiling, change the practical
or turn off
lights, I did." Mostly, the
cinematographer simply added
HMIs to balance the daylight and
changed the school's hodgepodge of
fluorescents to keep them consistent.
Knowing that the camera
would track through sunlit corri¬
dors, shadowy intersections and

use

of natural

light. I actually

because of its incredible latitude. I

it's softer, there's less contrast and the

needed the range of exposure to be
able to deal with the variance in light.

whole

We made the final

Or more menacing. When we
finally see students Alex and Eric
firing on their peers and teachers,

print on a very
Kodak Vision
Premier [2393], which has very satu¬
rated colors and good contrast. So
we shot flat, then brought it all back
later. That was the whole concept."
Savides used Zeiss Superspeed
contrasty

Frost, producer

field," says Savides. "It allows me to
work without a lot of light, so I can

stock,

image is more evocative rather

than literal."

much of the violence is either off¬
of focus,

"Because of the very
wanted contrasty lenses.

conveyed
impressionistically.
The first shot of Alex opening fire in
the library is a close-up of his face.
"It's pretty powerful, and the
violence gets across," says Savides.

we were

The

lenses for much the

same

reason:

flat film, I
Plus, I knew
going to be doing a lot of

Steadicam work, and I wanted the
smallest lenses

could

get."
light was
narrow depth of field, which became
we

One effect of low

one

of the

film's

visual

traits.

"Generally, I like shallow depth of

screen

or

out

acoustically

or

filmmakers

rehearsed

"They'd always want to do these
fights and things, but we wanted to
get more inside the students' heads,"
says the cinematographer.

16mm/35mm/DV/HD
1-Year Immersion
6-Week

Filmmaking Program

Digital Filmmaking Program

Feature

these

in various ways, even bringing
in effects and stunt coordinators.
scenes

Development Program

00
CM
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o

LL

< <
-I

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l"

2?

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o o>
o
o
o o
CD
CD

00

00

70

Don't Wait Any longer to Start Your Career.

3

CM

CO

«



American Cinematographer - October 2003

Table of Contents for the Digital Edition of American Cinematographer - October 2003

American Cinematographer - October 2003 - 1
American Cinematographer - October 2003 - 2
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