American Cinematographer - December 2003 - 64

Dark Deeds
Right: Jimmy and
Celeste toast to

happier times.
Below: The

young Dave,
Sean and Jimmy

compete in a
fateful game
street

of

hockey.

interiors with

single large source -
Arri T12 -
coming through the window, and he

often

a

a

12K tungsten

held reflectors

or

bounce cards close

direct

light toward
single¬
source lighting on this show. When
people see you doing that, they think
you're just trying to work quickly,
but actually, it's often a more difficult
approach.
to

the

the

camera

actors.

to

"I did

"Clint likes

a

a

lot of

fair

amount

of

contrast," he continues, "and that

nonverbal

suited the

six times out of 10,

dark

story's emphasis

side

of

human

on

the

nature.

mini-meeting. Probably
we'd leave the
smaller light off."
When Stern wanted

Sometimes we'd get a

night scene
going with a big half-light, and I'd
set up a Midget or another small
unit by the camera, going into a 1by-1 reflector to open up the actors'
eyes. I'd look through the lens, and
we'd snap the smaller light on and
off Then Clint would
and do the

same,

come over

and we'd have

a

rior to be less contrasty,
"room tone" technique

an

inte¬

he used the
that was a

favorite of Conrad Hall's. (Stern was
a

gaffer for Hall

Class Action,

on

American

Beauty and Road to
Perdition.) "Connie taught me that

you can get
to

lighting

room

-

the road
by lighting the

pretty far down
a scene

in other words, the items in

the room," he says.

"It's almost like
doing the principal strokes on a
painting, and the idea is that you
don't want to contaminate those
strokes

with

other

stuff.

My

approach is to set the lights pretty
much one at a time, and ideally, each
light does something that isn't in
relation to the other lights. Once
you've done that, what you see
through the camera will often look
as though it lacks something from
the front. Many cameramen have
put a bounce card over the camera,
but what Connie did, which

brilliant,
60 December 2003

was to

take

a

was

small light, a



American Cinematographer - December 2003

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