American Cinematographer - May 2006 - 30

Another challenging sequence

While

drifting
through the
valley, Harlan

on Disney Ranch. In
Wade catches up with Harlan

place

falls for the

who have stumbled onto

teenaged Tobe
(Evan Rachel
Wood), which

resembles

a

movie set that

old Western town.

an

wood actors scatter when

doesn't sit well

took
the scene,
and Lonnie,
Holly¬

shootout

a

breaks out between Wade and Harlan.

with her father.

"Although Harlan might be crazy and living
in his own world, there are a lot of things
he's right about, including the way we've
lost a natural way of life. It was very
important to show this conflict in the
shootout. Whenever
from Harlan's
characters and the

nice to have

former U.S.

I■

*

a

based.

X

*

T

X

lighter

location,

a

house in Arleta, the filmmakers

emphasize the contrast between
the cool indoors and the blazing outdoors.
"We talked a lot about Fat City and The
Searchers, where you have dark interiors
with the light pushing in, and then you get
strove to

new york

212414~9596

28 high output DMX fluorescent globes

5"d

you, me,

crane."

Valley's key interior is
the house where Tobe's family lives. At the

I

3200°k 5500°k greenscreen bluescreen

& dupree

fun with dick and jane *

*

when

catch me if you

a

stranger caiis

can *

*

freedom writers

artifica! intelligence

'LightWalls' available in sizes up to 40' X 40'
26

makeshift studio inside

■

version - 20lbs

smokin'aces
*

a

Army warehouse facility at
Joughin Ranch, bringing in tree branches
to simulate the orchard vegetation and
using a synthetic smoke that was not oil-

a camera or a

Down in the

| (J |f| 3 MCI Hi 61

4'

of the worlds

sion, like

looks

another location, separately from Rory
and Edward." To film Morse, the produc¬

tion created

new

war

the smoke. "We had to shoot David at

was

a

los angeles
310-358-6685

fast & furious HI

director who

a
real Western town, and whenever we
show it through the Lonnie's eyes, we see
it as a set - something dispels the illu¬

scene

willing to risk a lot. The most compli¬
cated thing was controlling the smoke,
because whenever the wind picked up,
the smoke would start to dissipate and
the backlight would become too strong.

was

show the set

good, but it was very
tough to shoot." Adding to the difficulty
was the fact that Morse was allergic to

The

fog in the back¬
ground by backlighting the fog with
ungelled tungsten units, 2Ks and Fay 9
Lights. Once Lonnie's torch goes out, the
characters aren't lit at all. David kept
pushing to go darker and darker, and it

we

point of view, it looks like

*

toyota

*

olay

* rocawear * gap *

*

blue

coke

*

man group *

madonna

matchbox twenty

*

www.lumapanel.com

98°



American Cinematographer - May 2006

Table of Contents for the Digital Edition of American Cinematographer - May 2006

American Cinematographer - May 2006 - 1
American Cinematographer - May 2006 - 2
American Cinematographer - May 2006 - 3
American Cinematographer - May 2006 - 4
American Cinematographer - May 2006 - 5
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American Cinematographer - May 2006 - 110
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