American Cinematographer - May 2004 - 62
The Mind of a Madman
Above: Manson
steers his
groupies toward
their grisly
destiny. To add a
ghoulish glow to
the nighttime
driving
sequence,
FauntLeRoy
affixed 4'
uncorrected cool
white Kino Flos
to the car's
dashboard and
streaks of light that
through the reeded
glass of the office doors and
spot creating hot
we
could
windows.
see
The
frames,
scene
was
lit
to
trying to
create specific, high-contrast areas of
light and darkness to surround the
two actors." Adds FauntLeRoy, "I'm
really pleased with the way the way
camera
that
scene came
as we were
out, but the
network
hates it."
of the
FauntLeRoy used color to
driver's seat.
help underscore the deeper meaning
of some sequences, and some of this
work was inspired by Bojan Bazelli's
cyan-infused cinematography in The
Ring (AC Nov. '02). "John wanted
that cyan look for certain scenes,"
says FauntLeRoy. "Before Manson
shows up, the victims' homes are
the
rear
Opposite: A
lighting diagram
illustrates
FauntLeRoy's
approach to a
key scene at the
Sable Ranch.
sometimes we
within
telecine sessions also gave us more
cold
that cool,
tones
even
a scene.
Tate's house
a
lot, and
make the
change
The look of Sharon
changes from
as soon as
warm to
the murders begin."
FauntLeRoy achieved most of
bay
these tonal shifts in the telecine
58
May 2004
film finish, I
cyan
and cold
warm
"If this project had been
Gray, "We play with
go to
effect." Adds
destined for
might
have enhanced the cyan look and the
warm look with lighting and gels,
but I knew we could manipulate the
hues in telecine," he says. "The
bathed in warmth, but whenever he's
onscreen we
at FotoKem.
a
options if John changed his mind
about a choice." (FauntLeRoy
worked with colorist George Kuran
on
the final telecine.)
Occasionally, FauntLeRoy did
color cast into the neg. One
example is a sequence that shows
build
a
Manson and his
accomplices driving
night. The vehicle was shot against
greenscreen, and period stock
footage was composited into the
image during post. "We wanted to
give the car's interior a ghoulish
look," says FauntLeRoy. To that end,
at
he used 4' uncorrected cool white
fluorescent tubes
car
rigged inside the
"They
the dashboard and
with Kino Flo harnesses.
were
placed
were
also affixed
driver's
in
on
seat to
to
the
rear
illuminate the
of the
actors
back," explains DiCesare. "We
American Cinematographer - May 2004
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