American Cinematographer - December 2006 - 81
Humanity's Last Hope
Right: A crowd of
Londoners
cannot elude
England's
ever-
watchful
authorities,
represented here
in
signage
by the
created
Soho-based
effects company
Double Negative.
The company
completed more
than 160 shots
for the film, and
their work
included
building CG
environments,
"futurizing"
London and
creating
invisible
transitions
between
scenes.
The LED
displays
and billboards
went
through
several
iterations, which
began with a
super-futuristic
look but
culminated in
a
rougher, more
organic design.
Bottom: Lubezki
makes
some
adjustments
working
with a car rig.
while
Lubezki
explains that
motivation for naturalism
one
was
to
convey the violence in the story
properly. "There's a lot of violence in
the film, and I don't know why, but
violence looks beautiful
on
Destruction and the attendant
ture
and smoke all
film.
tex¬
photographs
well. Violence is very cinematic, and
I didn't want this movie to beautify
or
glorify it."
To deglamorize the violence,
Lubezki took his
mentaries. "When
cue
from docu¬
you're watching
documentary on war,
one of the things you notice is that
there is no coverage. It's not all cutty
with beautiful close-ups of the gun,
or the
trigger in slow motion. The
other thing you notice in many
good war documentaries is that the
cameraman is often running with a
fixed lens
running to cover the
action and also running to save his
life. So we tried to avoid cutting and
beautiful framing. Somehow shoot¬
ing handheld and not cutting makes
violence not only less appealing, but
stronger. It looks more naturalistic
and you feel more for the characters,
as opposed to
falling in love with the
the
news or a
-
72 December 2006
American Cinematographer - December 2006
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