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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