From American Cinematographer, Paging Machiavelli by Eric Rudolph (March 1998)
"The scene where Ross actually gets on the moving carousel's enclosure, which helped us to create a feeling of confusion. We could not get any lighting direction that way, because it was all crosslight and flare and backlight, then darkness and strong frontlight, then sidelight. It helped to communicate the utter confusion in the mind of the character about just what is what and who is who in this nightmare."
- Gabriel Beristain, ASC, BSC
Creating the provocative lighting for the various rooms and corridors of the police station, Beristain says, was...
"...like being in a playground. We wanted a intensely hostile and scary environment, but we didn't want to go with the typical fluorescent lighting and Steadicam approach that is so often used in that type of setting. We decided to make each room in the police station look worse than the previous one. It's like Dante's Inferno; each place seems like it must be the worst, but it turns out to only be purgatory, and you keep going deeper and deeper into the gloom."
- Gabriel Beristain, ASC, BSC
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
No comments:
Post a Comment
I am always open to relevant, professional feedback, opinions and critical critique.
go raibh maith agat!
-Ryan