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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