![]() He likes going with less light than I would typically use, so we’re working right on that edge when shooting film. He encourages all of his collaborators to push the envelope, not just me. Did French introduce any new challenges and experimentation?Įach movie is different. Many director/DP collaborations rely on verbal shorthand they develop over the course of doing pictures together. That might mean having to bounce 18Ks off the ceiling to boost the overall illumination, but it got us to F/11 on the Kodak 200T stock In addition to the HMIs, I used a lot of tungsten, and I am finding ARRI SkyPanels very useful for their versatility when it comes to color temperature. Photo courtesy of Searchlight Pictures.Įven today, I love Gregg Toland’s deep focus work in Citizen Kane I just don’t care for mushy backgrounds. Lately, DPs want to shoot wide-open for the shallow depth of field, but Wes and I both like how the big stops let us carry focus while affording creativity to stage in depth. We do the opposite from the norm in many instances. It sounds like his creative approach is equal parts aesthetics and efficiency? Then, when special emphasis was needed, we went anamorphic, using modern Arri Zeiss lenses. It’s made to order pretty much just for us, though Kodak and I both hope it inspires others to shoot monochrome. Equipment-wise, These are the same ArriCam ST and LT cameras I used twenty-five years ago for lenses, beginning with Hotel, we began using the Cooke S4s.Ī lot of people are rushing to embrace older glass now, but if Wes puts up three actors across the frame, they all have to remain sharp, and the fall-off with older lenses would work against that. Only so much gets made in Rochester, New York, so there is a huge lead time when ordering. We found a place in Paris to process the stuff, but getting the stock was much more of an issue. While we had shot 16mm on Moonrise Kingdom, we were back to 35mm this time, mostly black-and-white stock, with some color at certain points. Anderson wanted to shoot on film again, rather than digital - how did that go? I’d use crew-members as stand-ins when shooting so we’d have basic blocking and could get an idea about where the light would be coming from. It gives you an idea of how things will go together, while also giving production a pretty firm idea about what will be seen, and therefore how much will need to get built. Wes uses it for both exploratory and technical reasons. That reliance on previsualization sounds like a modernized version of how Hitchcock worked. We shot in France at Angouleme, and production found a nearby factory to serve as our stage and base of operations in southwest France. When looking at locations during prep, I often shoot some film in natural light to get an idea of how things look, and throughout, we hoped for cloudy days, which again tied back into that New Wave look. Typically, Wes doesn’t define the exact era, though it looks mainly 1960s, with bits of the ‘50s and ‘40s thrown in. The New Wave aspect meant we’d mainly be shooting in the ratio of the time, 1:37, and on black-and-white film. Filmmakers whose work inspired in this way included Louis Malle, Henri-Georges Clouzot and Jean-Luc Godard. This time much of that was based on the French New Wave – visually anyway. Robert Yeoman: He sets up a library of DVDs and Blu-Rays. Musicbed: Does Anderson have an established approach to the prep period on his projects? Already teaming back up with Anderson for next year’s Asteroid City, Yeoman spoke with us about the adventure and challenge of shooting Dispatch on location and on stage in Europe. His association with Anderson goes all the way back to Bottle Rocket, with his work on The Grand Budapest Hotel netting him an Oscar nomination. ![]() After shooting 2nd unit on a pair of William Friedkin thrillers, he became a DP on a variety of Indie-minded projects, including Drugstore Cowboy and Dogma. Cinematographer Robert Yeoman, ASC is a key collaborator of Anderson’s. ![]()
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