American Cinematographer - December 2006 - 91
Motown Hitmakers
Right: In the
number "And I
Am
Telling You
Going,"
I'm Not
Effie argues
with Curtis
about his
decision to
fire her.
Below: Deena
confronts Curtis
about his
for her
plans
career.
light he's standing underneath goes
off and the screen goes black, and
then we cut to a spotlight on Curtis
as he
gets out of a car at a big concert
in the next
scene.
There
we
wanted
are
to
also several
shoot in such
that it would introduce
feel,
so
a
scenes
a
way
theatrical
that when the actors transi¬
tioned from
speaking to each other
singing to each other, it wouldn't
be jarring to the audience. It's tricky
to make that work. For example,
'Steppin' to the Bad Side' begins with
dialogue as Curtis, C.C. and Wayne
[Hinton Battle] walk down an alley,
then they begin singing. I played
very strong toplight, clean 5Ks spot¬
to
ted in,
over the length of the alley,
played with silhouettes and
lower angles. We also had a single
red light in the alley, a bulb over a
doorway that we augmented with a
2K Fresnel spotted in and gelled a
matching red. Throughout that
and
number, which includes
a
montage
that shows Curtis
and
a
paying off DJs
doing illegal gambling, we kept
monochromatic
of red; all the
there
are
tone
with
a
hint
lighting is clean, but
throughout
touches of red
the set, whether it's the
bulb in the
alley or a red suitcase used as a prop.
When the action
moves
into
a
for a big dance number, our
light comes from practical heat¬
ing lamps, the kind used to dry
freshly painted cars; we positioned
garage
red
some
of those red
welders'
screens
used in
goggles in front of them. It
light that was
also theatrical. We were trying to
find some way to incorporate the
sets, lighting and camera that would
remind you of a theatrical piece.
How did your ideas for the
look of the film evolve during
was
motivated red
prep?
82 December 2006
American Cinematographer - December 2006
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