American Cinematographer - July 2005 - 67

deal with subtle
which

was

nuances

trademark

our

The

of tone,
on this

cinematographer
lit Jolie from

picture. Obviously, because it's a
lower-contrast film, you lose a little
snap. But if you go to a digital inter¬
mediate [DI], which we planned on,
you can gain so much back. I tried

high angles to
accentuate her

cheekbones and
also played with
her backlight.

find the film stock that would

to

the

elegant, unintrusive
of capturing these characters.
Everything looks great, and when
they start talking, that's when you
start reading between the lines."
create

most

way

The character-driven visual

approach is set in the opening scene,
depicts the Smiths getting
marriage counseling in a psycholo¬
gist's office. "Both of them are facing

which

the

camera,

which is the [POV of

the]

psychologist," says Bazelli.
we were trying to
figure out
how to make the scene interesting, I
thought of playing John and Jane as
light figures against a semi-dark
background, with just a very small
camera movement to suggest the
psychologist's POV. The emphasis is
on their faces and
body language as
they open their hearts for the audi¬
"When

ence."
The action
film's

soon moves to

the

important set, the
elegant two-story home,

most

Smiths'

exteriors for which

were

shot last

spring in Pasadena, California, then
through a bit of movie
magic into autumnal Westchester
County, New York. The set for the

transformed

home's interior took up two stages at
20th Century Fox, where the

production shot for about eight
thought the house should
look beautiful but not too inviting,"
says Bazelli. "The 2.35:1 aspect ratio
helped us; we put each character on

weeks. "1

one

side of the frame and left

in between." A

case

in

a

void

point is

an

image of John and Jane before their
bathroom mirror, silently going
about their rituals in adjacent but
seemingly separate universes. "I like
to

watch the

how

actors

rehearse

to see

they're going to present them¬

selves," says Bazelli. "You can have

a

American

Cinematographer 63



American Cinematographer - July 2005

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