American Cinematographer - April 2006 - 130
Sundance 2006: Frozen Moments
then
lot about Wes Anderson's films.
Reitman and Whitaker would
Tweenies
"Everything in those movies is care¬
fully set up and kind of presented,"
into
hung 30 or 40 Babies and
throughout the rest of the
location to create pools of light." All
units were gelled with lA CTO, and a
bit of smoke was pumped into the
room for added atmosphere.
This warm, moody look is
repeated at Bert's Bar, where the
MOD Squad eats lunch. Three or
four scenes take place there, all of
them in the
back of the
shot at
same corner
The
room.
booth
at
the
scenes were
bar in Los
Angeles. "That
challenging
location," says Whitaker. "I really
wanted to pull them out of that cor¬
was
ner
a
probably
our most
booth into the
center
of the
I'd have an easier time light¬
ing!" Instead, he used toplight: Gem
Balls going through a frame of either
250 or lA grid. "We boxed it in so the
light wasn't spilling everywhere and
room so
added whatever
During
we
needed for fill."
prep,
'
m
1
w ww.ch
108
imeraligh ting .com
a
Whitaker, "and
we
wanted [a
look and feel. We moved the
camera
only when we wanted to accentuate
a point." An example is the
sequence
in which Naylor reads a damning
article that a journalist (Katie
Holmes) has written about him.
The sequence
consists of four or five
vignettes: a Hollywood agent (Rob
Lowe) reading the article in a news¬
paper; Naylor's boss reading it in his
office; members of the public read¬
ing it; and a man reading it on the
subway. "Those compositions are
almost architectural in nature," says
Whitaker. "When we get to the shot
of Naylor,
then
-
there's a slow push in and
wham!
-
he slams the
down on the table and we go
right into his face."
Throughout the shoot,
paper
Whitaker and
first-time director Reitman talked
muses
similarly] conservative yet stylized
"go
look around, and say,
'This room would look great from
here. Now let's put the actors in it,"'
a
room,
recalls the
cinematographer. They
only for scenes of
Naylor and his son. "We'd go for
more traditional
coverage - longer
deviated from that
lenses, more two-shots, more overthe-shoulders," affirms Whitaker.
"The goal
together."
was to
Thank You
ly shot with
a
emphasize them
predominant¬
single camera, a
was
Panaflex Millennium that Whitaker
operated,
but
Millennium XL
occasionally a
(operated by Danny
Nichols and Tom Lohmann) was
added to the mix. Whitaker notes
that Lori Killam and Jim Roudebush
at Panavision Woodland Hills "took
great care
primes,
of me." He used Primo
lenses (for
C-series
Steadicam and handheld work), Eseries 135mm and 180mm
lenses,
American Cinematographer - April 2006
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