Lighting

Yeah, well, there was a scene that got cut out. Here's the really uncomfortably long other butt shot. That was actually a funny thing was because editorially we had a blocking issue where Ricky was standing and we actually couldn't cut to a different angle to get around it. So we're like, I guess we're holding on her butt for a little bit longer. And yeah, so we just kind of had to deal with that. Yeah, here again, it seems like this where I'm really grateful for our DP because I thought a lot of this stuff he lit and shot so beautifully.

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But calling it in over the radio can be tough. But in this situation, we had no choice. And then our production designer, Andrew, he kicked ass on this movie for having so little money to start with. Like, I think he literally had, like, what, a thousand bucks to do the inside of this tank. It was pathetic. But he made the tank look fucking cool. And, you know, it's like... And then, like, those lights on the top, this lighting company had these new fiber optic light things. So we put those actually in there and...

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At a certain point, you really can do the entire dialogue. It's not so hard in this one because they don't talk. There's 12 lines in the movie. But we loved shooting this one. When me and Bjérn... We do it, like, every second day. But there's one exception is that if one day goes on until the next day... ...we don't change. And I think this one took two days to shoot this whole thing. And I loved this because If you think about what she's talking about... ... you know, it's hard to do this for real. She's talking about Werewolves and so on. But she does it for real. - She sells it. Yeah. She sells it. Yeah. - She really does. Yeah. And, I mean, every good actor finds truth in anything. They can find truth in anything. And then they get... And it was also-- I remember when... - Hang on. This scene here. This scene is one of the trippiest scenes in any of the Underworld films. And it is real. - Yes. No CG. That's so fun. Because it's an entire thing... ...we built up. - That's CG. That's CG. Other than that. - That's CG. No, but the shot is actually done... It's actually set up so that we could do it live in-camera. Todd Masters and the guys did a great job with his stomach. This is your revenge on Theo. - Bollocks. That's a real stomach. The blood pouring? - Yeah. Well, yeah. But the stomach is real. - Now, now, boys. Boys. The old hand squeezing. The heart-squeezing shot. Well, remember she has the blood of Alexander Corvinus. That's right. That's the old Corvinus injection... ... that he's gotten there. I always call this the Videodrome shot. Yes. - Yep. That of course Is... - "Long live the new flesh." ...a prosthetic chest that's put on top of him. His body is underneath. - No, it was me cutting Theo. We knew you wanted to. The audience was applauding when they saw this scene. They thought it was great. - Yeah. Here is Richard's shot coming up. Thank you. I like that shot. - It's a great shot. You said we needed it so we got it, and I'm happy we got it. It's in every trailer. - Slow-motion too. Yeah. This worked out well too. - Yeah. This, I thought was a waste of money, these two shots. And it's really, really cool in the end result. This was one... My biggest fear actually... ...because Goth people don't look good at daytime. They are born... They are made for the night. They're plain silly in daylight. Exactly. So I was concerned that will she look silly in daylight. Yeah. This is the darkest-looking daytime... ...and maybe that's the Swedish influence. Don't you have half the year where it's dark? This is sun everywhere. It is, but it's inside a dark... - It's not a beach. Scott lit it... - I agree. What else did we shoot this day? That was cool. The old cowboy switch there. Yeah. - Love it. Then we think-- I think we shot the exterior of her coming out... ...of the tunnel or something and the Lycans following her? That's it. Yeah. - There's something called ADR... ...which means additional dialogue recording. It's when you get bad sounds so you re-record the sound. Right. - This scene was ADR"d... ...and you usually hate ADR because you always lose performance. It's not the same when the actor's standing there with... ...a cup Of latte in their hand and everything. Or mocha latte. - Mocha latte. Whatever. In Burbank rather than in the real world. But that scene was so good in ADR. Because she was able to whisper... ...which she couldn't do on the real set. Right. And get the... - Yeah. So she-- It's so much better. It was so noisy, so they wouldn't have heard each other... ...If she whispered. - Yeah. This is one we call the All the President's Men scene. Yep. Our homage to... I loved this ceiling. - ...Investigative reporting movies. Yeah. - And this is the-- What was this? It was the legal library of the university. That was being rebuilt. It was gorgeous. It's not there anymore? It's gone? This is the last thing that happened... ...and then they tore it down and rebuilt it. That's just brutal. - Yeah. That was brutal. To destroy something brutal as that. But you see the squares and the concrete. Yeah. Wow, what a place. We talked for hours what kind of concrete should be used. Some concrete was wrong. And this concrete is right. Michael. Cool guy. - Yep. Loved him. - Yep. First thing that-- The scene we just saw. He walks up to the set. He never worked with Kate. Kate says, "So, Michael, sexiest black guy on the planet." That rocked him on his heels. He should have said: "SO, Kate, sexiest woman on the planet." He could have. And if he was British, probably he would have said that. Who are the two ugly gimps next to them? That's not fair.

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Don't be too proud. You know. - Steal. Do good things. - Steal madly. Well, it's from another art form, at least. It's actually sort of a Bufiuel moment too. Isn't it? It is. It is totally Bufnuel. Did we blow this up or was it shot this tight? This is shot this way. By this point, we weren't afraid of going... ...a little bit closer. We were told you cannot do close-ups. I know. - That-- Bullshit. Whoever said that, you know... - Should be... ... taken out and whipped. And here's also-- You see-- It's also interesting if you watch it in 3D. The black side of his face, because he's lit like that. Said, "It'll just be a hole in the screen and you won't get it." Yeah. We were told... - Wrong. Wrong. That's a load of crap, actually. - Yep. It looked gorgeous. - This is truly sick, guys. And here-- This is, yeah. But... The theme here works very well... ...because this film's very much about family. A family that slays together stays together. I was completely serious. But Kate and her daughter and this is father and son. But I love the way Kris says, "Yes, Father." Remember that "silver munitions" sign argument? Yes. - I wanted to put it on the day... ...and you were like, "No." - There was never no argument. Oh, please. - We said, "Of course." And we shot it. - It didn't say "silver munitions" before. No. - How will they know it's silver? We put it in later. - They did. This is my one "I told you so" in the movie. Okay? It says "Ag" and everybody knows, right? Everybody knows the elemental symbol for silver. Of course. Do not underestimate your audience. They do know. All this was shot with four cameras. What do you call these? GoPros. - GoPros. And it was.... We thought it actually would save time. But it was.... - No. It was a mess. But it ends up looking great, though. No. It looks exactly what we wanted. It's also interesting how technology moves. When we started shooting this, you had to... Since we mounted these small cameras... ...we had to go up, take out the disk and put it in another place. And turn them on. We'd play for 45 minutes before you were ready to shoot. And then, in the end of the shoot, you could have a video assist to it. So it just develops. Yeah. - We couldn't shoot in... When we shoot slow-motion, when you shoot film... ... you have go to another camera. Here you can do 120 frames, which is.... Regular speed is 24, or 25 in Europe. And you couldn't do more than 72 in 3D... ...but by the end of the shoot, you could do 120. We're the only film ever to do that. Oh, really? - And the Epics, not even today... ...in 2D can do 120. They made that special build just for us. And they've never updated the build to 120. Why not? - I don't know. They should. - Because we're cool. This scene was.... It was dropped for a long time because it was too slow, people thought. But then, I think it was Gary or someone.... You wanted it back and we were so happy... ...because it's actually giving us some kind of backbone... ...on why they work together. - Yes. And it was emotional for Michael Ealy. And it actually showed that Selene was sensitive to his back-story. And it showed why he was helping her. That's right. - Yeah. This is us being Swedes, having a Volvo. Sorry about that. That's actually something we had to fought for. It was brutalistic. - Yeah. It is. Boxy. - Now this was... They're boxy, but they're good. What was it called, Fraser University? Simon Fraser. - Simon Fraser. Yep. - Yeah. Yeah. It's in the... - Here's brutalism galore. It's just... Insanely. - Yeah. In the script this was set in a skyscraper, an ordinary lobby. Right. - And we thought, "That's so boring." And then we saw this place and it was like, "Wow, this is so...." We have more space for guys running around shooting and stuff. Yep. She takes bullets. Don't you get excited when you see that? Don't try this at home, kids. It really does hurt to get shot. - I love this. I love that. Taking a bullet. These guys running had Werewolves' teeth... ...and they looked ridiculous. We had to cut out so many of them. This is one of my favorite shots. The li-- The-- What do you call it? The color? Perfect. - Yeah. And also this whole sequence, the elevator sequence... ... that starts kind of now until we blow everything up... ... It's one of the things, from a directorial point of view... ...we're extremely happy with because it's so... Planned. - It's very complicated. Deceptively complicated. - Yeah. You don't realize how many pieces are stitched together... ...to make it work. - And everybody did their share. Yeah. And at the end, it becomes cinema, I think. Yeah.

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Nia DaCosta

I really love the way Sean Bobbitt, the DP, does moonlight, and it really speaks to me as someone who loves mercury vapor lighting. I just think it's really beautiful. So, you have this mix of this, like, greeny light and this orange firelight, which I think is really beautiful. Here's the sound of the train over the moon.

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Nia DaCosta

This was so fun to shoot. This... Our amazing stunt performer, who we lit on fire, I think, three times. And the crazy thing about this, which I didn't know, is basically he gets covered... His body... Like, underneath the costume, he gets covered in something that protects him from fire. And then he gets... puts on the costume, puts on a gel that was supposed to light up. And then he wears a mask over his face so that he doesn't, you know, his face doesn't burn off, obviously, and... But he has to hold his breath for the entire time that he's on fire, which I didn't think about. But obviously, you wouldn't want to be inhaling and burning your lungs to shit. So I was so impressed. And I always am with everyone I work with, but especially him being lit on fire three times, I think, on that night, and then three times on this night, to do the shot that's about to come.

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We cut for the first time to Bond, and his cigarette in his mouth and his famous lighter in his hand. And he says, Bond, flick with the lighter, James Bond. Now, originally, he said, Bond, James Bond, and then lit his cigarette, and it wasn't funny. And it was absolutely this, absolute timing of the thing, Bond, James Bond, and it suddenly was a laugh, you see.

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Francis Ford Coppola

Obviously, Johnny Fontane was inspired by a kind of Frank Sinatra characters. And my impressions of the young Frank Sinatra was of, you know, girls screaming when he crooned. And so I had the teenagers jumping up and down and screaming while the scene was going on. But again, I remind you that the shot of Al and the shot of Kay were shot at night and just lit to match with the party. Gordon did a very

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Nick Pinkerton

clean and well-lit medical facility is immediately available. The movie, again, is going to be very much concerned with a mentor-mentee relationship and the idea of mentoring relevant, especially...

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and violent sexual scenes that one can think of in a movie. The bodies in the sex scenes are almost slug-like as well, in the way they're shot and the lighting that's used. Quite repellent. The selection of images using a telecommander is quite extraordinary. I mean, it does go into a oneness, what Mr Newton says. You see everything on television. It doesn't tell you anything.

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Paul Davis

the book and the documentary, I found out that it was actually minus, it was recorded as minus 11 degrees on the 28th of February in London, where they filmed that night. So it was cold. And those poor guys, they were the only two that had to get wet under those, under the rain trees. And the scene was lit by the DP Bob Paynter,

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Peter Greenaway

and always puts the full figure into a frame, a quite elaborate interior frame here, which is very carefully lit with lots of references to European 17th-century painting, there is, I suppose, the disadvantage that the opportunity for psychological involvement by looking at characters' faces, by watching how the details of their glance or the use of the eye

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Photographing this helicopter at night was a serious challenge. Because the normal way that they had done it... ...was to have another helicopter fly along... ...and spread light all over the chopper. But it looked just terrible, you know. It looked all lit up and phoney. And Alonzo came up with the idea-- He said: "I'm gonna make this helicopter light itself." I said, "What did you mean?" And he said, "I'm gonna put lights all over it that are hidden... ...and wherever it goes, it will have light on it." So he and his electricians built lights that are... ...hidden along the bottom of the skids of the helicopter. They're hidden up in the tail, all over the place. Just little tiny guys spreading light along the body of the helicopter... ...so you could see it against the real night sky. And it took them a long time to develop it. And they would keep coming back with test footage... ...where I'd say, "Oh, this looks very nice. When do we get to see the helicopter?" And they'd say, "Well, it's right in the middle of the frame." But it was so pitch black. Because we had to make a helicopter... ...that was, like, midnight blue. And, of course, that was terrible. The only thing worse than that... ...would have been if it were painted black. Then we never would have seen it at all. Well, we're actually very lucky, because right now... ...we've just been joined in this session... ...by an absolute genius in the area of special effects. Hoyt, would you introduce yourself?

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He took all this stuff and turned it into weapons of war. Roger Pratt lit this. Roger had done Brazil with Maine, so this was a second chance to work together. And John Beard, who had been the art director on Brazil, came on as the production designer of this.

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Tim Lucas

would televise torture when it's easier and cheaper to fake it. Masha's lighting of the cigarette brought Max back to his memory of Nicki's challenge, and it should be pointed out that Debbie Harry now disappears from the film for roughly ten minutes. There were reportedly preview screenings where she dropped out of the film for significantly longer. Now that I think of it, isn't it possible that the real Nicki never comes back?

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in the right direction because I magnified any... It's like burning your retina. You could see everything. You could see all the camera equipment, everybody on the crew, if my glasses were in the wrong direction. They reflected everything. See, I'm looking... I can't look because all you see are the lights that are lighting everybody.

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Roger Moore

And the luxury of going on to a film where you have four months of principal photography, five months sometimes, you say, well, don't you get bored? There must be a lot of sitting around because lighting things take a little longer. Well, they never let me get bored on Bond because the publicity department would wheel in another interview. At one point while we were filming, they said that we'd had

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John McTiernan

It's funny, we had to do... It was one of the first early computer opticals we had to... Arnold's cigar wasn't really lit in that early shot. It wouldn't start or something, but... So we had to have the glow enhanced. I remember.

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And when you got there, there was no one there, but there were like lunch boxes left over. Someone had written on the boilers, these boilers were lit in 1897 and we shut them down today for the first time in 1985. And this was sort of the end of the Rust Belt economy. Yeah, it had just shut down, you know, so all these personal messages were on the wall of all these people that felt terrible that they couldn't work anymore and lost their job there. But it was a great set for us.

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Again, l-- You wanted to capture... Julio Macat did a wonderful job lighting this scene. Wanted to capture sort of the glory and the... Wanted it to feel a little scary, too, inside the church. You know, it's beautifully lit, but it's still kind of... When he's looking at the statues... The church always felt that way to me. It had this-- This love-hate relationship where it's a little frightening as well. You will burn in hell for all eternity for thinking impure thoughts. What did you say about the church? - Yes. Ha-ha-ha. Exactly. We had a huge battle with this church... ...because I think it was... I think it's a Protestant church... ...and we wanted to bring in statues. And they did... You know, they don't like statues. And I was just like, you know... - Oh, them types. I'm not being clear about the denomination... ...I Just want it to be frightening. Like, "What do you mean, church is frightening? What do you mean?" - Yeah, exactly. "What do you mean, statues frighten you?" It's a sad thing. But it sets up this whole thing of Marley coming over, and you're suddenly... Again, slight Dickensian reference to his name. I don't think his name was... I, again, don't think Old Man Marley was in the original script. I could be completely wrong, but I think Old Man Marley developed... ... through several meetings with John and-- Yeah. I don't think he was in the first script that I read.

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Paul M. Sammon

And if you'll notice, look at the interactive lighting. It's all these little touches that are just so amazing. And it really sells the reality of this. This, again, is Phil Tippett and his fantastic crew. That's a miniature. Now, when you're seeing the actual interaction of the actors with full-size, this is completely miniature. But you will see, again, miniature.

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like descent into hell that Clarice has to undergo in order to, you know, meet Hannibal Lecter for the first time where Jonathan Demme and his cinematographer, Tak Fujimoto and, um, the rest of the crew are just using every trick in the book to kind of create this atmosphere and this mood and this ominous feeling, uh, including like the submarine sound effects and the red gel lighting. And, um, what is really the defining, um,

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I got down every half hour and had a cup of tea or something, and then got back up on the scaffold and jumped off, you know. A lot of body harnesses. Pretty tricky, actually. Difficult filming because of the physical discomfort of all the people involved. They had to be... It was a very slow shooting process, and John, with the lighting, complex lighting, and small area, small space inside the setting. William! William!

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match and make sure they got the same plants on the set that would actually be there so that it would look identical and they had he had to create a misting system because the jungle is very wet and kind of steamy and that ended up contributing to the lighting also it ended up being more effective sometimes than like fog and it would sort of make its own fog um

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A little sweet little music. And coming up, yeah. Tomorrow, you start at the bank. And coming up, one of the greatest, the lighting in the next scene. Oh, right. It was hard to get, but we had a vision for it, and it came through very well. She was a good sport, too. Yeah. I think we see that there's a...

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Darren Aronofsky

The hunt has begun. I love Matty's work here. I love the lighting. Look at Max's hair. It's really great. And Lenny's just great. One eye lit. It's beautiful. It's all numbers. You know that? Yeah, look. The ancient Jews used Hebrews in America. So all the Hebrew as math stuff comes from a personal experience.

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E. Elias Merhige

Don't tell me we have a busy schedule tomorrow. Good stuff. No exterior shots of the inn. Some shots in here. Arrival of Hutter's carriage. Welcome. Welcome. Friedrich, I'd like to plan for these night scenes. When are they to be filmed? They will be filmed soon. In here you see some of the gorgeous lighting. Lou Bogue did a spectacular job. The references that I was working off of certainly were from...

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