American Cinematographer - June 2004 - 95

that

appealed to him about Nacho

Libre

was

its mix of visual elements.

"It has all these different worlds that

would think belong to different
one part,
you have the
monastery, which has colonial

you

movies. In

architecture and feels like another

century. Then you come to the

wrestling world, which looks more
contemporary, and then you have
the 70s look." He
ter

notes

is most evident in

a

that the lat¬

party scene

populated by women with big peri¬
od hairdos, a sequence shot in a
large Oaxaca ranch-style home. "It
had really big floor-to-ceiling win¬
dows, marble floors and spotlights
in the ceiling," says Grobet. "I left the
spots on and dimmed them down,
and used a lot of practicals. Most of
the modeling light for the actors was
provided by Kino Flo Image 80s. In
fact, that's

true

of

most

of the

movie." He adds that the

brightly lit
party sequence recalls some of his
mother's portraits of luchadores in
their homes. "There's a famous pic¬
ture

she took of this wrestler in his

kitschy Louis XV house, with 4foot-tall porcelain dogs. That's what
a lot of the
atmosphere of the party
was

based on."
In the

monastery, on the

other hand, Grobet

employed

a

contrasty, sidelit style. "I was
trying to create the feeling that it
more

all lit

by candles, even though
any," he says. In the
dining room, a high-ceilinged,
domed space where a significant
number of scenes take place, the
cinematographer used a lighting
balloon sourced to a preexisting
was

there weren't

chandelier. "Because there

was

a

dome, it was difficult to rig anything

there, and by using a balloon we
to damage the walls."
The production did have the white
dining room walls painted yellow,
however, to help the actors pop. And
Grobet made liberal use of ND grad
up

didn't have

filters for interior

scenes.

"Instead of

cutting the light with a flag, I'd put
on a
grad filter. If I want to bring

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American Cinematographer - June 2004

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