American Cinematographer - December 2006 - 70
make
anything pretty or beautiful
unnecessarily. For example, I didn't
want to put a backlight on an actor
[for beauty reasons]. Of course, I
couldn't get away with not lighting
at
all. When winter
tions
the loca¬
came,
using between build¬
ings started getting dark very early,
we were
so some
built
of our locations had to be
soundstage. I had to light
them, but I did it in such a way that
the light was always coming from a
natural source, usually through
on a
the
example, the ceiling of a
police bus terminal was filled with a
grid of Nine-light Mini-Brutes,
yielding convincingly oppressive
toplight. "We didn't use them as film
lights, but more the way the police
would do it," he says. Similarly, for a
night exterior of the fortified police
center, he used a series of open-face
metal-halide lights. "These lights are
used by the army in England. It's
set. For
also the kind of work
Above: Theo is
workmen
approached for
help by his ex¬
girlfriend, Julian
We
light used by
repairing roads at night.
simply stripped them out of
their bases."
Lubezki also used sodium-
Julian confronts
Faron, interrogation-style, in a dark
interior with an open-face light
beside her. The cinematographer
adds that the violence of this light¬
ing was heightened by a camera-
vapor light, as when
(Julianne
Moore), the
leader of the
underground
opposition group.
Below: Our hero
narrowly
escapes a bomb
blast on a London
street.
windows."
He used the
same
approach
for the film's climactic birth scene,
which he lit with
a
single bulb
(mimicking
a gas lantern) to
achieve a minimum exposure of
T2. A scene in a pothead's abode
lit simply with a "gigantic
China ball" above the actors on the
was
couch, along with a background
awash in
a
marijuana
greenish light used by
their
growers to nurture
crops.
When
a
location
or
set
required lighting, Lubezki tried to
incorporate the lighting fixtures in
American
Cinematographer 63
American Cinematographer - December 2006
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