American Cinematographer - May 2006 - 54

Rough Justice
In

a

sequence

that marks

visual

a

departure

from the rest of
the

picture,

Charlie Burns

(Guy Pearce)
revisits the
of the

scene

Burns

gang's

latest heinous
crime.
Production

designer Chris
Kennedy
painted the
ground, trees
and gutted
homestead

black to

help

create

a

desaturated

palette.

Because of the

project's mod¬
budget, Delhomme had to shoot
Super 35mm rather than anamorphic, his first preference. With the
graphic compositions of Forty Guns
est

in

mind, he started to frame his stills

at 2.35:1.

"I wanted

to see

how much

sky we needed, how much ground."

He also used the

digital stills to
develop the color palette of the film,
desaturating the skies and saturating
the ochres and earth
The

tones.

filmmakers

originally
hoped to shoot during Australia's
winter for perfect sunlight and crisp
colors, but principal photography

was

"The

postponed to early

summer.

less

contrasty,"
says Delhomme. "In a way, the dust
became one of the key characters in
the film and gave it its look. We need¬
summer

was

ed to show it's difficult to live there

the human

-

body is not made for it.

John wanted the actors to be

sweat¬

ing and dirty and have yellowed
teeth. So the heat was a big gift for
me; it provided a lot of texture." The
only relief from this dusty palette is
the small, blue oasis of England
inside Stanley's house, a world of
porcelain teapots and blue-stenciled
wall designs.
With temperatures soaring to
135°F, heat

was

"Sometimes the

a

real hazard.

camera was so

couldn't touch it

-

not

hot I

outside,

insidel" recalls the

cinematographer.
a
glass of water
five minutes." Medics were on

"We had

to

drink

every
hand at all times to make

succumbed

to

sure no one

the heat. To top

it all

off, flies were everywhere. "They were
a cast of thousands,"
jokes Hillcoat,
who

encouraged the actors to adopt a
imagine the flies
were "butterfly wings
grazing your
Zen attitude and

face."
Mindful of the need for robust

equipment, Delhomme selected
Panaflex Millennium for the A
and

a

cam¬

Platinum for the B. "I

orig¬
inally wanted two Millenniums, but

era

the

a

technicians

Brisbane
50

May 2006

at

Panavision

suggested that the 'less elec-



American Cinematographer - May 2006

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