American Cinematographer - October 2004 - 54

Soul-Searching Sleuths
Right: Deming
shot half of the

ensemble

comedy with
two-camera

setups. In this
scene, Albert
and another
detective he
has hired

(Isabelle

Huppert)

spy on

Vivian and

Bernard. Below:

Law, Naomi
Watts, Hoffman,
Tomlin and
Pablo Davanzo
ham it up in the
detectives'
office.

"Compositionally, anamorphic is
just so much more interesting and
has so much more power, for come¬
dy or whatever you're doing, than
1.85:1," says Deming.
Wide shots dominate the pic¬
ture. "David decided early on that he
wanted to shoot very wide and

deep," says Barrett. Though that was
changes would
crop up when blocking complicated
the rule of thumb,
multi-character

scenes.

"Often the

set up seemingly out of
chaos," Barrett says. "The cast and
crew would get there in the morn¬
scene was

ing, then rehearse until it looked like

the whole
a

going to play in

scene was

master. It

would

that there would be

seem so

erratic

way to cover
it. But then, it would get covered. It's
no

just that the organic process that got
them
wild.

the first

really
People would be stepping on
to

master was

each other's lines, and David would
be

saying, 'Faster, faster!' and taking
changing nuances of different
performances."
Deming, whom Barrett
describes as "unflappable," consid¬
notes,

ered himself the backseat driver

during this "wild" process. "We ran
extensive masters," Deming recalls.
"Because there

was

logue,

we

we

knew

so

much dia¬

had to

cover

it

very well. But there was also the
notion that if the pacing was right, it

could work in

a

master. So

we

took

great pains to ensure that perform¬
ance-wise, we got really good mas¬
from

beginning to end."
setting up coverage for
these scenes, the number of eyelines
presented a challenge. "The whole
eyeline situation got completely out
of control," says Deming. "It was
almost like every other scene was a

ters

When

50 October 2004



American Cinematographer - October 2004

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

American Cinematographer - October 2004 - 1
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