American Cinematographer - April 2005 - 62

Trouble in Paradise
Right: The

pound, spend 90 minutes driving to
new
housing development, and
then return to the compound for

filmmakers
prepare to

the

shoot

a scene

at

Rose's

the end of the

treehouse,
whose 5'x5'x5'
dimensions

director of

photography
Ellen Kuras,
ASC and her

colleagues.
Below: Director

Rebecca Miller

out to

Ricker.

the water, and then

move to

the treehouse."

confer with

production
designer Mark

"We did that

day one, and it was crazy but
exciting," recall Kuras. "I felt moti¬
vated, literally, to keep up with the
story." Even within the compound,
she says, "We were constantly mov¬
ing locations to maintain continu¬
ity. For example, we'd start in the
main house, go to the field, head

posed some
challenges for

(right) and Kuras
(in black shirt)

scene.

on

a

Except for a brief sequence -
1960s "home movie" that Kuras

shot

on

Bolex

reversal stock with her

own

Jack and Rose was filmed
stock, Kodak Vision2 500T

-

on one

7218. "I knew we'd be

making a lot
moving from inside
to outside, from dusk into
night, so
I needed a very versatile film stock,"
she explains. "The 500-speed
Vision2 handles grain very well and
has great range; it has enormous lat¬
itude in the highlights and sees into
of transitions,

the shadow

thing
often

areas,

which is

some¬

really needed because
couldn't put lights where
we

we

we

needed them. With the DI in mind,
I

overexposed it by one stop."
The

commune sets were

built

from the ground up with several

fly¬
walls, but Kuras chose to leave
the walls intact during several
scenes, given that the priority was to
create a space that the actors could
convincingly inhabit. The value of
that approach became apparent on
the third day of the shoot, during an
away

intimate

scene set

inside Rose's

tree-

house. The

16-year-old storms off
to her
refuge after Jack suggests she
can no
longer care for him by her¬
self; he follows, and their reconcilia¬
tion

seems

precariously tinged with
filming the scene,

desire. Before

Kuras sat alone in the tree house,

a

5'x5'x5' space suitable for a child.
She recalls, "I said to myself, 'I'm out
of my mind, but
take this [flyaway]
be like
54

April 2005

I'm not going to
wall out. It would
taking half of someone's



American Cinematographer - April 2005

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