American Cinematographer - May 2006 - 55

tronic

technology' of the Platinum
a good safety measure," he
says. "But we didn't have a single
problem in 48 days." He shot most of
the picture with Primo lenses in
three focal lengths: 35mm, 50mm
and 75mm. "I think it's a very inter¬
esting discipline," he notes. "Henri
Cartier-Bresson used only one lens in
his life. I can tell the actors generally
enjoy the friendly and consistent dis¬

would be

tance

from the

The idea of

camera.

avoiding wide angles and telephotos
was also to respect the real scale of
the landscape." The B camera was
equipped with a 24-275mm Primo
zoom, allowing for adjustments dur¬
ing takes for smarter coverage.
Delhomme chose time-tested

lighting instruments over the latest
equipment. "I took old lamps, 18K,
12K and 6K HMIs with large
Fresnels. Par lights would have been
easier to carry to difficult places, but
they were much more sensitive to
heat. We also had to change all the
electronic ballasts for the

same rea¬

son." One of Delhomme's most

important lighting tools was a simple
white bedsheet, which
on

the

was

either laid

or walked with the
"For exterior shots, it's often

ground

camera.

the

quickest and best bounce you can
"I've lit
many, many shots like this. I never
use polystyrene for an exterior. In all
get on a face," he explains.

the

in the

scenes

Arthur is

crevasse

hiding], I
directly

12K Fresnels

match the

bouncing
the rock to
the existing

was
on

of

texture

[where

light."
Delhomme

achieved many

with

small, light¬
weight crane and a remote head. "It
camera

was

moves

many

a

times simpler than bring¬

a dolly, especially in rocky
locations. I improvised some strange,

ing in

floating shots with it, but mainly we
something quite classical."

wanted

Furthermore,
want

to

ask

Delhomme
his

crew

to

didn't
haul

nonessential
heat. "I

equipment in the killer
did things more simply than

I would have in the studio. You can't

A conversation between Charlie and Arthur

filmed

partly

(Danny Huston) that takes place in the day's waning light was
aid of a TransLite. Top: Pearce and camera loader Troy
and Huston onstage. Bottom: A shot from the sequence

on location and partly onstage with the
Dean Reichman prepare on location. Middle: Pearce
as it appears in the film.

American

Cinematographer 51



American Cinematographer - May 2006

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