American Cinematographer - December 2003 - 52

Heartbreak and Loss

The most

-

critically acclaimedfilm of the year,
according to a poll of 40 critics nationwide.

SAN FRANCISCO CHRONICLE

Paul's

gain is Cristina's loss

...

that

was
very important for
Alejandro was to have shallow depth
of field; we were trying to maintain
wide apertures because he likes the
sense of danger created by things
going out of focus - it's in focus,
you lose it for a second, and then it's
back." For day exteriors in the New
Mexico desert, Prieto was rating the
800-speed 5289 at 1,000 ISO to
underexpose for the bleach bypass.
"Because we were shooting at 1,000

ISO at
use

noon

in the desert, I had to

heavy, heavy [ND] filtration and

Polarizers

on

the lens. Of course,

we

ended up

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Godfather and Gregg Toland's contributions
Kane. Hear William Fraker on filming Rosemary's

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Citizen

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shooting until the last
moments of light, so even with the
high rating, there were shots where I
was working wide open without any
filtration. Matching became a little
tricky!"
Prieto

notes

that

he

and

Inarritu used still

photos by Laura
Letinsky, Sebasteao Salgado, Nan
Goldin and William Eggleston as
reference points for their images.
"We emulated all of the defects that

when you're shooting still
photography with available light," he
explains. "The difference is that in
still photography, you don't have
issues of continuity. We had to do

occur

entire
to

scenes

light

so obviously I had to
well. That was another

as

used

reason

I

canceled

out

on

in whatever time it took

shoot them,

the overall

diffusion.

CCE

the effects of diffusion
scene,

but it still made



American Cinematographer - December 2003

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