American Cinematographer - July 2004 - 48

Nowhere Man
obtained 65 18K HMIs and three
15-6K BeBee

Night Lights from
Paskal Lighting. "The BeBee is a
great source, but it's only about 15

a

in

a

18K

HMIs to create washes of direct

sunlight."
Once the terminal

lighting
place and principal photogra¬
phy began, Kaminski found himself
in the unfamiliar position of battling
boredom. "Because the picture called
for a single location, it wasn't quite as
exciting as some other movies I've
was

in

done with Steven," he confesses. "It
a
very impressive set, but the
excitement of that wears off after the

was

first few
you

days, and then you realize
have 60 more days to go in that

same

thing

location! Once
we

we

area

a

delicate

situation,

thing over and over again," Kaminski
continues. "And if you lose concen¬
tration, you're not going to do a good
job. After all, if you lose concentra¬
tion while you're driving, you're not
going to be a good driver. During the
color-timing, I could tell where I got
a bit
arrogant and didn't pay enough
attention! When you're in a situation
like that, you really have to focus on
the obligation to do your very best
every day."
Fortunately, within the termi¬
nal space there were small areas
where Kaminski was able to give the
lighting more character. For exam¬
ple, Navorski eventually makes a

second, so we needed

few BeBees and about 65

tent.

because it's easy to lose concentra¬
tion when you're just doing the same

you've got 400 feet of windows,
you're going to pan through a 15source

of the

"It's

feet wide," notes Devlin. "When

foot

general look, our work became a
matter of keeping that look consis¬

did every¬

home for himself
and

needed to do to create the

at an

unused gate

Kaminski. "We had

some night
involving classical,
moody, bluish night tones. There is
another night scene that shows
Viktor lying in bed in front of a
frosted-glass wall, and a huge jet
taxis down the runway behind him.
We did that shot in a very low-tech
way, with a couple of guys pushing
lights on stands. It was all very
scenes

there

crude, and to be honest, I wish I
were

more

technologically adven¬
get very jealous

turous! I sometimes

when I

see

some

of the

amazing

lighting diagrams in American
Cinematographer. For me, it's still
very much the 'paper-and-glue'
techniques - on Steven's movies,
we move so fast that I usually turn to
the simplest techniques to get the
job done."

begins to redecorate. "One wing

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airport is under construction,
begins to convert a gate
to fulfill his needs," explains

and Viktor

Kaminski color-timed

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American Cinematographer - July 2004

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