American Cinematographer - May 2005 - 37

In The

Interpreter,
Secret Service

agents Keller
and Woods

(Sean Penn and
Catherine

Keener, opposite

page)
to

are

called

protect United

Nations

interpreter Sylvia
Broome (Nicole

Kidman, left)
after she

overhears

a

plot

to assassinate an

African

politician.
Below: Keller
becomes

increasingly
suspicious of
Sylvia as he
learns

more

about her

background.

Pollack's credentials

dented

of

diplomacy took
place in the office of United
Nations Secretary-General Kofi

In the winter of 20 4, an unprece¬
act

Annan, but this time, it wasn't the

Noble Peace Prize winner who

was

mustering his
-

it

was

powers of persuasion
director Sydney Pollack.

Pollack

sought permission to
project, The Interpreter,
on U.N. premises. No movie had ever

film his

new

been shot there, not

Hitchcock's North
Pollack

even

Alfred

by Northwest.

was

aware

as a

director of

was

capable of a

very

wide

range

of

thrillers with contemporary, relevant
themes
he helped define the genre

work, all the way from the super-

with

AC Jan.

-

pictures such

Three Days of
the Condor and The Firm. To bring
The Interpreter to the screen, Pollack
tapped Darius Khondji, ASC, AFC, a
director of photography with his
own
distinguished record in the
suspense
genre
(Seven, Alien:
as

Resurrection, The Ninth Gate, Panic

Room) whose diversity had long

impressed him. "I

saw

[that Darius]

stylized photography of Evita [see
'97] to much grittier stuff,
like Seven [AC Oct. '95], and that

interesting to me," says
Interpreter to
have a base in absolute reality, but
heighten it slightly. I wanted some¬
thing more beautiful, more vivid
than documentary reality."
For his part, Khondji was
delighted to have an opportunity to
range was

Pollack. "I wanted The

that the

U.N. is not

supposed to be used for
activity of any kind, and
by most counts, a Hollywood film is
as commercial as it gets. But he
believed The Interpreter was the right
film to break precedent. "The U.N.
has got far more important things to
do than to worry about movies," the
director notes wryly. "I was very care¬
ful not to try to sell Mr. Annan. I just
commercial

HCSUantugiavredennrsiosasi.l

ocurftesy

Phot s

wanted to tell him about the film,
and I assured him that there was

nothing in it that would be embar¬
rassing for the U.N., and that my
sympathies were with the spirit of the
U.N." By the end of the 30-minute
meeting, Annan gave the green light.
Certainly, few could dispute
American

Cinematographer 33



American Cinematographer - May 2005

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