American Cinematographer - June 2006 - 90

Wresde Mania
Right: The crew
prepares to film
the action in the

ring. Below:
Paradise (Bret

Chan, left) and

Sage (Lauro
Chartrand) make

quick work of
Nacho and

Esqueleta.

tion for

Before Night Falls (see AC
Jan. '01) gave him a boost in the
States, and he went

on to

shoot the

features In the Time of the Butterflies,
The Woodsman (AC

May '04) and
episodes of
Deadwood and the pilot for Big Love.
He recently wrapped the motioncapture production Monster House.

Nine Lives, as well as

Grobet

met Hess at

the 2004

Sundance

Film

Festival, where

Napoleon Dynamite (shot by Munn
Powell) made a splash. "Jared has a
very, very personal style when it
comes to shooting, and it's very
comedic," says the cinematographer.
"He always likes to center characters
in the frame, which is something
you usually run away from. But
when you embrace it as a style, it

becomes

really funny. It's a state¬
you're doing something
different, something with comedy
in it. I guess it's because by putting
things in the center, it becomes awk¬
ward." Wide-angle lenses add to the
ment

that

effect. "Our lenses were
a

27mm almost

Grobet,

who

a

21 mm and

constantly,"
used

says

Panaflex

Millennium XL and Platinum

cam¬

and Primo

prime lenses on the
production. "You always see where
we are. The landscape is something
we planned on having in the frame
eras

all the time, to include as
the world

much of

possible. It's not a com¬
edy about words, about dialogue; it's
as

about actions and visual informa¬
tion. You don't see just the

character;
also see his environment. It's
important to see and feel and
respond to the whole world in front
of you." The filmmakers considered
using a widescreen format, but they

you

decided standard 1.85:1 would bet¬
ter

suit the centered-in-the-frame

style of shooting.
Initially, Grobet attempted to
extend the director's shooting style
86 June 2006



American Cinematographer - June 2006

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