I Spy with my Little Eye

Cinematography is a language unto itself.  Yet we all understand it on a subconscious level.  And some of us cinephiles understand it on a conscious level – aware (most of the time) of why the cinematographer chose to shoot a scene a particular way.   There are certain images that are symbolic and archetypal that crosses cultures and socioeconomic divides.  If the movie is a recording of a dream or even a dream made real then images are the original language.  The first attempt at cinematography can be traced back to the world's first motion picture film, Roundhay Garden Scene. It was a sequence directed by Louis Le Prince, French inventor and showman, on October 14 1888 in the garden at Oakwood Grange in Roundhay, Leeds, West Yorkshire, England.   (The Ripper murders were happening at this same time.) This groundbreaking event happened seven years before the Lumière Brothers' Sortie de l'usine Lumière à Lyon made the first paid exhibition on December 28, 1895 at Le Grand Café, in Paris, France.  The year is important and relevant to the historic accuracy of the story, A Rogue in Londinium.  It begins in 1888 and Jules Whitby has a prototype of this very same camera.  He is collecting moving images of street life in the East End of London.  He is also being paid by a wealthy doctor to collect images of Richard Rhys and then, later in the story, images of Victoria Thornton in order to show at the World’s Fair.  More about that later.

The cinematographer is the painter, if you will, of the canvas that is the screen.  This professional utilizes light and composition in order to convey the story.  In some cases movement helps to make the story come to life.  Vilmos Zsigmond, one of the most amazing cinematographers in the field---shooting such films as Heaven’s Gate, The Deer Hunter, Deliverance, McCabe & Mrs. Miller and Close Encounters of the Third Kind among others (most recently The Black Dahlia) is an example of how the look of a film can be just as compelling as the story itself.  If you have ever treated yourself to the brilliance of an Ingmar Bergman film you will be aware of Sven Nykvist’s work: Persona, Fanny & Alexander, Cries and Whispers and the Phillip Kaufman film, The Unbearable Lightness of Being.  One of the most common mistakes for beginning filmmakers is to flood the set with light sort of like a soap opera that immediately flattens the plane. Controlling light helps create depth of field and that is what our stereoscopic eyes do for us every second. The use of shadow to sculpt the actor or object in the frame is where the skill lies.  Isolated illumination makes for dramatic statement or tension or plain old fear.  It increases the emotional factor since we humans see things in real light and shadow.  I watch Patrick Sullivan as he moves lights and adjusts the camera preparing for the days scene(s).  Working with an Arri Light kit --- 2/350s and 2 inkies along with a Lowell 450 to highlight parts of the set, he creates pools of light that the actors move in and out of creating an intimate atmosphere. Another important factor in lighting a set is where the light source within the scene is located.  If the source were a simple candle then flooding the set with light would contradict the onscreen source.   Today the scenes are being shot in Richard Rhys’ art studio in the East End of London.  The dominant color on the set is red so the incandescent light creates an amber candlelight type glow.  Oil lamps and sconces are all part of the dressing.

Whit arrives early on set and helps move a few lights to kill time.  Unfortunately he pulled a muscle in his back and is lying prone on the floor trying to catch his breath.  Judy Krause has just come from make-up looking fantastic.  Rebecca Damon is reviewing her script in the kitchen when Whit wanders in bent over looking for aspirin or some kind of relief. 

“Oh my God, what’s wrong?” She says trying to help him.

“What did you do?  I told you not to move stuff.”  Thom adds.

“Can you straighten up?” Ed asks as he prepares a bagel for Whit who turns it down.

“I’m not sure I can simulate ‘making love’ if I’m on top”.  Whit replies.

“Okay, come on.  I have something that will help. Let’s find the director.”  Thom says and he leads Whit through the set and disappears.

“Are we going to lose a day?”  Rebecca asks.

“Not if I have anything to do with it.  Look, I can be on top --- that way he’s on his back through the scene.”  Judy suggests.

“That could work.”  Rebecca concurs.

A plan is in the making.  When I return to the set I find Whit already laid out on the bed in his Victorian pajama bottoms and a dress vest.  The director is talking to Pat as he tweaks lights. I can hear her tell him that she wants the entrance through the carriage doors flooded with light.  Rebecca is dressed in an ivory day dress and tea hat.  She will be in a kind of silhouette when she enters looking innocent and perhaps naïve.  Richard’s lair is in shadow and outfitted in red damask wallpaper bedcovers, rugs, etc.  She will be entering his hell.  They break out the 650 Arri lights and bluish daylight gels to simulate the sun streaming into the adjoining room.

 I look over at Whit and I can tell by his pupils that he found something stronger than aspirin to relieve the pain. 

“Okay, go ahead and mount.” The director says and Judy carefully places herself on top of him. 

“Am I hurting you?”  Judy asks concerned.

“Nothing can hurt me now so go to town.”  He replies.

In a prior scene Catherine refuses to pay Richard for the portrait until it is finished.  She further withholds the purse until he ‘performs’.  Backed into a corner and desperate to get the cash, he plays her game.  Unbeknownst to him, though, she had found a note he had written to Victoria weeks ago but never sent.  At the top of the scene Catherine is trying to get Richard aroused one more time before ordering up some food and drink checking the time for her calculated, malignant adventure.  At that moment Victoria walks in holding the unsent note.  It is a Dangerous Liaison kind of scene.  The look on Victoria’s face is of utter betrayal and astonishment.  Richard, undone, can provide no explanation that would excuse or even remotely redeem him.  In a moment she is gone but not before handing over the note.  Enraged, Richard realizes that Catherine set them both up claiming she didn’t want her cousin to get hurt.  Richard begins to strangle and manhandle Catherine.  Shouting and threatening blows I am impressed with Whit as he rallies to the challenge.  If my back were out I’d have to call it a day but he is agile and strong and a top-notch professional recreating the scene take after take.  There is a brief recess as the grips set up the dolly and Pat  re-sets the camera and lights.  Whit is on his belly on the floor.  Judy is massaging his lower back trying to reduce the tension.  Rebecca is providing support.  “Whit, I think the AD said this is the last set-up for you so if you can just hang in there a little while.”  She goes and fetches some water and Motrin.  

“The Dolly shot is the top of the scene so all you have to do is just lay there…and say your lines, of course.”  The director explains.  Judy is in a red corset and bloomers drinking champagne in the pool of light on the bed.  She is stunning!  Richard is underneath, tired and over the whole game.  When the scene is done Whit is shot out and Thom graciously gets him home.  The next scene scheduled for the today takes place a day or two later.  Catherine is in her dressing room preparing for her afternoon performance when Victoria confronts her about her diabolical scheme.  Victoria can take comfort in the fact that Catherine has completely lost Richard.  In that single pivotal, silent moment Judy’s performance lets us know that Catherine was very much in love with him and that she is the architect of her own undoing.  Bravo!  It is one of those scenes that you want to rewind and watch again.  Subtle and profound.  And though she is a kind of villain she has a living, breathing heart that can break flooding her with humanity and reminding us all how we fall short of the ideal. 

Organic Fruit Loops

It is a hot Saturday August morning and I pass thru the front room as my son sits watching cartoons and munching on a bowl of cereal. I can see my wife getting dressed in the next room. 

“Are those organic fruit loops?”  I ask, as I’m about to make a clean getaway. 

“Where are you going?”  She says.

“Um, I’m helping the guys that are making the Londinium film…you know, that Victorian movie.” I reply as I slither out the front door.

 “Excuse me!  What about your son?”  She says and there is a hint of resentment in her voice.

“Hey Buddy!  Get your jeans and sneaks on---we’re going to the park!”  I say cheerfully.  “These are my favorite cartoons.”  Justin says rooted to his spot on the rug, but the wife is still glaring.

 I finally make my way to Prospect Park at about 11:00 AM.  I’ve completely missed the first scene of the day.  When I get there I see Eddie and a few crew people waiting for the carriage to pass by.  They have a second unit to cover a few exterior shots as the horse and carriage go by.  Thom gets me up to speed on the scene.  In A Kiss is a Kiss is a Kiss (an earlier entry) I describe the moment when Victoria and Richard have their first kiss.  Overwhelmed by her feelings and propriety of the day Victoria asks Richard to leave.  He does.  After a few days Victoria is in a funk. She can’t stop thinking about him, she won’t eat, she can’t concentrate, etc.  Charles suggests she find good company and take a carriage ride.  Alas, she invites her cousin Catherine Burroughs who is responsible for introducing (or rather, re-introducing) them in the first place.  Catherine is a grand dame of the English theatre on par with the likes of Ellen Terry or Sarah Bernhardt just not as famous.  Catherine and Richard are what are known as ‘friends with benefits’, however their relationship plays out more like the war of the roses.  Thom’s cell phone buzzes.  He jumps off the path out of mic range to take the call.  Apparently the handful of extras that were scheduled for today got the date wrong through a miscommunication with the 2^nd AD.  Thom whistles for Eddie Joe.  Another phone call is made and Eddie is gone in a flash.

Finally the carriage comes clopping up the road.  Ms. Damon is sitting with another woman, Judy Krause who is playing Catherine Burroughs.  She is an absolute knockout!  And I swear I’ve seen her before.  I know she’s done some commercials and most likely other Independent films. I try and IMDB her on my crackberry but I am immediately needed to help move equipment. We set up for the second scene near a Victorian fountain on the south side of the park.  The ladies look like they’ve just walked onto the set of The Age of Innocence.  Stunning!  As the women stroll through their scene Thom lends me a pair of cans so I can hear the dialogue.  Catherine tries to finesse the secret to Victoria’s discontent from her by implying she should have an affair.  Finally Victoria opens up and admits that she is smitten.  When Catherine asks who it is Victoria replies, “A Painter.”  The look on Catherine’s face is priceless and moves effortlessly from concern to disdain to jealousy and impending cruelty.  Judy’s character is something of an Annette Benning role.  Conniving and ruthless but with refined meanness and cold-hearted resolve.  Ms. Krause does it better, though.  She will steal this movie. I know it.  The camera loves her.  She is luminous in the light.  Just then Eddie Joe shows up in a Victorian morning suit and bowler ready for his close-up.  On his arm is Pat Sullivan’s mother, Mary, dressed in Victorian finery and ready to be in pictures.  There are a few other people that Eddie rounded up spontaneously to fill in this park scene.  As Thom helps the AD choreograph how the extras move and when to cue whom, the director works with the actors.  Eddie turns and says, “Thom, was that good?  I need a few pointers.”  Ahhh, the art of ball busting.

“Yeah, Eddie keep your face turned toward the actresses because the back of your head is your best side.”  Thom replies.

“ Do me a favor, Thom, don’t give me line readings on this scene, please.”  Ed adds.

“What are you talking about---you don’t have any lines!  You’re a friggin’ extra!”  Thom counters.  Eddie just laughs as Thom, exasperated once again, resets the extras and waits for action from the AD.  Once we get the scene in the can we haul ourselves back to the Fort Greene apartment for lunch.  Judy is shot out for the day and the next scheduled scene is between Richard and Victoria. 

Whit shows up in John Lennon blue tinted glasses, three days of stubble and his hair in a braid.  Stephanie is about to have a fit.  “Why did you put your hair in a braid!?” 

“Because it’s hot and I wanted it off my neck.”  He says.

“We’re going to have to wash and blow it out.”   She adds as she grabs his arm and leads him off to the bathroom more than a little peeved.

“I don’t see what the big deal is.”  Whit replies.

“ Did Sandy do this?” Thom asks.

Whit sheepishly nods his head.

“Why can’t you tell your girlfriend to keep her friggin’ hands out of your hair, man!”

“What can I say?  She likes it.”  Whit says just as Stephanie shuts the bathroom door.

“Grow a set and tell her ‘no’ next time.”  Thom adds.

“You tell him, Thom.” Ed chuckles.

“Don’t you have a sandwich to eat?” Thom says.

“I can’t.  The soda’s flat.  Someone forgot to put the cap on.”  Eddie says as saunters off back to the lunch table.

The bedroom of the apartment has been dressed and set as Richard’s East End art studio.  Impressionist-type paintings in various degrees of completion are set up and stacked against the walls and mantle.  The wonderful aroma of oil paint and medium mix and remind me of my days in college in the art department or my days spent at the MoMA studying great works by the modernists.  Whit comes out of make-up looking completely different than when he went in.  Stephanie is a miracle worker.  And may I say his hair looks great.  I ask him if he’s tried the organic fruit loops.  “No, man.  Where do you get ‘em?  Dean and Deluca?”  Rebecca starts to laugh.

I tell him they’re organic because the grain is grown without pesticides and they are sweetened by that new brownish Sugar in the Raw.  Now Rebecca can’t stop laughing because everyone knows how processed fruit loops are and I can’t believe how gullible he can be sometimes.  They’re all different colors and filled with loads of bleached sugar.

“Sean, you need to leave him alone.  He’s trying to be Richard.  No fair with the fruit loops.” Rebecca says giggling as she disappears into make-up.  As the scene begins this is the first time Victoria has been to Richard’s studio and she has a secret.  When she is ushered in she is greeted not by one portrait of herself but half a dozen.  She is overwhelmed.  In an effort to show the love of his life that he is operating on her wavelength and interested in her vocation he presents her with the prototype of the first motion picture camera demonstrating how it works.  She is mesmerized by the images that flash by particularly because they are of her when she first met Richard in the street on that snowy night.  Jules had hidden away and recorded their meeting not because he knew anything, he just happened to be there documenting the street life.  And that is how Richard poses it to Victoria, that this new invention if used properly could help bring about badly needed reform by recording the astounding poverty and showing it to the upper classes.  If she wasn’t sure she was in love with him before she is absolutely and hopelessly in love with him now.  He asks her to stay and not go to New York as she mentioned in an earlier scene.  Upset, she tells him she must go and silently leaves taking her secret with her.  He is devastated but his resolve remains intact.  Stay tuned for more….