American Cinematographer - September 2004 - 57

Vicious Circles
Quinn outlines
his approach to
a scene

gather her resolve and persevere."
The
filmmakers
planned
another crane shot to show Becky's
triumph after her singing moves the

for

director Mira
Nair (in

red).

"Mira's level of
trust in me is

but there wasn't

matrons to tears,

time

it

preparing the
period hairdos and costumes wound
up taking six of the eight allotted
hours. So again, Quinn took the

high when it
comes to

lighting choices
and camera

movement," he
says.

to execute

in hand. As Nair

camera

wanted

-

to

showed

recalls, "I

film the song in a way that

Becky getting

and
begins to
almost weep inside herself. She tran¬
scends herself, and I really wanted
more

more

involved until she

Declan

to

shoot

that

moment

because I knew he would understand
The

shot

provides "an
shunning," says
Quinn. "Were watching through the
crystal of the chandelier while Becky
room.

overview of the

is shunned once, and then she
another group

of women
and they slide away from her, and at
that point the camera descends out
moves

to

of the chandelier. I felt it was

it. I wanted him to go

motivated

bosom and the details in her dress,

move.

and is

feeling

camera

makes

a

a nicely
Becky pauses
bit defeated, the

As

a
subtle

We want her to

move

to

her.

succeed, and the

mimics that

for her heaving

yet not lose her eyes at the most
important moments of the song."
Quinn and Klemens Becker,

very simple move,

the A-camera/Steadicam operator,
had an arrangement in such situa¬

the next cut,

tions. If Quinn was

camera

feeling. It's a
and it precipitates
which sees Becky

asked to operate,

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American Cinematographer - September 2004

Table of Contents for the Digital Edition of American Cinematographer - September 2004

American Cinematographer - September 2004 - 1
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American Cinematographer - September 2004 - 127
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