American Cinematographer - September 2004 - 26

London After Dark and the Czechs in Wartime
Davey(Jonathan
Rhys-Meyers), a
minor

drug

dealer to the
socialites of

London, relaxes
in the back of

a

cab moments

before he is

dropped off and
jumped by
hoodlums in I'll

Sleep When I'm
Dead, shot by
Michael Garfath,
BSC.

considerations

A Brother's

Revenge
by John Calhoun

I'll

at about

Mike

minor, because

$5 million. But there

was

also

aesthetic component to the decision.
"Mike wanted the colors to show

Hodges' I'll Sleep When I'm
Dead is all about night and the city, to

an

borrow the title of another noir thriller

through, and he wanted the movie to be
shot very naturally," says Garfath,
adding that shooting in black-and-white
or doing
bleach-bypass processing
"would have made the film a very styl¬
ized piece, and probably would have
been wrong for it."
In many ways, I'll Sleep When
I'm Dead is not a typical genre film. It's
the moody story of Will Graham (Clive
Owen), a gangster who has left the crim¬

set in London. But unlike that 1950

black-

and-white classic, I'll

Sleep When I'm
plays in full color, lacking even
special processing to stylize its palette.
Dead

"When

we

first sat down to talk about it,

I

thought it would be wonderful to shoot
it in black-and-white," says director of
photography Michael Garfath, BSC, who
has collaborated with Hodges on four
features, including Croupier (see
Production Slate, ACAug. '00). "But tele¬
vision stations want

a

thought about doing
but that's
22

were not

Sleep When I'm Dead was budgeted

September 2004

an

color movie. I also
a

bleach bypass,

additional cost." These

inal life for
Welsh

an

itinerant existence in

logging camps, only to be drawn
back by the mysterious suicide of his
younger brother, Davey (Jonathan Rhys-

Meyers). Trolling the streets of south
London and investigating the circum¬
stances behind Davey's death brings Will
into contact with figures from his past,
including former lover Helen (Charlotte
Rampling), and eventually leads him to
the doorstep of a natty hoodlum named
Boad (Malcolm McDowell). His return
also forces him into

a

confrontation with

the

complex masculine ethos that
propels the city's criminal underbelly.
Like Hodges' 1971 film Get Carter, with

which it shares

some

narrative elements,

I'll

Sleep When I'm Dead is more
concerned with psychological underpin¬
nings than conventional thriller
elements. The filmmakers thus deter¬
mined that

a

naturalistic style suited

the

story best.
Most criminal

activity does take

CbPHKlaarocsmemsiiuchtyfent.r,y
DIW'pemhhoaetdns

Sle p
I'll



American Cinematographer - September 2004

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