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Talks with Hollywood's Cinematographers and Gaffers by Kris Malkiewicz assisted by Barbara J. Gryboski drawings by Leonard Konopelski A FIRESIDE BOOK Published by Simon & Schuster ew York London Toronto Sydney Tokyo Singapore FIRESIDE Simon & Schuster Building Uockefeller Center 1230 Avenue of the Americas New York, New York J0020 Copyri~ht © 1986 by Prentice Hall Press All rights reserved, including the right of reproduction in whole or in prui in any fonn. Published by Prentice Hall Press First Fireside E dition L992 FIHESIDE and colophon are registered trademarks of Simon & Schuster Inc. Designed by Irving Perkins Associates ~ l anufactured in the United States of Awcriea 10 Library of Congress Cataloging-in-Publication Data Malkiewicz. Kris. Film Lighting. l. Cinematography-Lighting. I. Cryboski. Barbara, J. ll. Title. TR891.~ 1 35 1986 778.5'3-13 85-31177 ISBN 0-671-76634-1 1 .\l\1 CRF.ATLY indebted to a large group of chael D. Margulies, ASC; Sven :--lykvist, marvelous people who generously contrib­ ASC; James Plaonette; Howard Prouty; uted with their expertise and their time: Owen Roizman, ASC; Dr. Roderick T. Ryan; Richmond ("Aggie'') Aguilar; John Alonzo, Douglas Slocombe, BSC; Haskell Wexler, ASC; Bruce Bennan; Bill Butler, ASC; James ASC; Robert Wise; Harry Wolf, ASC; Ralph Crabe, ASC; Jordan Cronenweth, ASC; Woolsey, ASC; Vilmos Zsigmond, ASC. Nancy Cushing-Jones; Allen Daviau, ASC; There arc others. too numerous to mention Thomas Denove; Caleb Deschanel, ASC; by name. who o,·er the years shared with me Robert Hahn; Conrad Hall, ASC; Richard their kno" ledge. either direct!) or ~ the au­ Hart; Adam Holender, ASC; Gary Holt; the thors of books and articles. Seminars at the late James Wong Howe, ASC; Philip :\merican Film Institute, chaired by Howa rd Lathrop, ASC; Frank Leonetti; Richard Schwartz. ASC, and American Cinematog­ Kline, ASC; Alexander Mackendrick; Mi- rapher magazine were particularly rich and inspiring sources of infonnation. PREFACE lX CHAPTER ONE The Cinematographer as Collaborator 1 Working with the Director 2 Working with the Art Director 9 Working with tbe Designers 11 Rehearsals 12 Composition 15 Working with the Crew 17 CHAPTER 1WO Lighting Equipment 22 Fresnel Lights 24 Open-ended Lights 24 Sealed Beam Lamps 29 Arcs 32 Compact Lights 37 Accessories to Luminaires 39 Power Supply 48 CHAPTER THREE Image Manipulation 51 Film Stock 51 Brightness Range Manipulation 52 Measuring and Evaluating Light 52 Color Gelatins 61 Image Manipulation by Filters, Nets, and Other Optical Media 62 Image Manipulation in the Laboratory 70 Video Transfer 78 CHAPTER FOUR Strategy of Lighting 83 Hard versus Soft 83 Low Key, High Key 86 Sources of Light 93 Long Shot and Close-up 96 In the Studio and on Location 97 CHAPTER FIVE Lighting a Scene 99 Day Interior 100 Night Interior 104 Controlling Hard Light 106 Controlling Soft Light 110 Treatment of Walls 117 Combining Hard and Soft Lighting 118 Using Practical Lamps 120 Mirrors 126 Process Shots 127 Lighting Faces 129 CHAPTER SIX Lighting on Location 147 Location Exterior 148 Location Interior 165 Vehicles 171 CHAPTER SEVE:-.1 Learning to Light 177 NOTES ON THE CONTRiBUTORS 183 GLOSSARY 187 INDEX 193 viii CONTE:-ITS FILM LICIITll'C is a living, changing art. Ever After transcribing the interviews I realized more sensitive film emulsions influence the that preserving the voices of these people in choice of lighting equipment; advanced lamp the form of extensive quotations wo uld bring design dictates new ways of lighting. To cap· the reader closer to this wealth of experience ture the essence of these new methods, I ap­ and advice. As a result, the same lighting proached several cinematographers and problem is often discussed by four or five ex­ gaffers to discuss their work and concepts. perts. In this way the state of the art film This led to many hours of interviews and lighting emerges. many days on film sets in the studio and on I feel most fortunate in securing the edito­ location. It was a very rewarding experience. rial help of Barbara Gryboski and in having These innovative professionals proved to be the line drawings done by Leonard Kono· very generous in sharing their techniques and pelski. On the publisher's side of this venture ideas. I fou nd the legendary closely guarded I was greatly helped by senior editor Susan boxes of personal filters to be memories from Gies. the past. Today, there is a camaraderie of Last but not least I am grateful to Alexis camera people freely exchanging their inven· Krasilovsky for her creative typing of the tions with each other. manuscript. ix CHAPTER o(ii){g The Cinematographer as Collaborator "FILMS ARE light." This statement by Fe­ vant as the French impressionist painter derico Fellini brings us to the essence of the Claude Monet, who painted the cathedral at cinematographer's art and function. One of Rouen from the same angle at various times the most important abilities of a cinematogra­ of the day. When Sven Nykvist (ASC) and pher is to see light and to remember it. The Ingmar Bergman prepared to shoot Winter "light memory" for the lighting cameraman is Light, they spent an entire day observing the similar to the musical memory necessary for a changes in light in a country church in mustctan. Northern Sweden in order to be able to re­ Light is the most changing element in our produce that winter light on a sound stage. daily life. We move among solid objects and For a cinematographer, watching the light among people who do not change drastically becomes second nature. Whether in a city during a day or a week. But visually the ap· hall, a restaurant, a night club, or in the pearance of our environment and of people woods, the cinematographer will file it away around us may change from one hour to the in his memory to be recalled when lighting a next due to the time of day, the weather, or similar situation on a movie set. This will the particular source of the light. The best help in the final task of a cinematographer, cinematographers are very aware of these which is to contribute to the visual character changes and store in their memory the impact of the film . different types of light have on our emotions Light will enhance or diminish the efforts and our subconscious. Most people see the of all the people who create the sets, the cos· change in the quality of light as the day goes tumes and the makeup. by, but a cinematographer must be as obser- Filmmaking is a collaborative art. It would be misleading to insist that the cinematogra­ film studios. For example the glossy Holly­ pher is totally responsible for the visual char· wood pictures of the thirties were foll owed by acter of the picture. Even in terms of the the stylized low-key lighbng of film noir in camera moves and framing, the creative pro­ the forties, and the Italian stark neorealism of cess involves the director, the cinematogra­ the late forties and fifties. pher and the camera operator, and it depends Styles are also influenced by the personali­ very much on their individual talents and per· ties of the cinematographers and the techni· sonalities as to whose ideas are decisive in the cal progress in film stocks, lenses and the final outcome. Yet lighting is the sole domain lighting equipment. Very sensitive emulsions of the cinematographer. This is his most obvi­ and faster lenses require less light intensity. ous contribution. Light can fall on the scene This allows for much greater use of soft, in a variety of wa>•S. It can create a great man}' bounced or diffused light and of practical moods, but the task of the cinematographer is light sources that constitute part of the set. It to choose the type of lighting that will best also facilitates greater use of the available help to tell the story. The angle of light, its light, especially in backgrounds, such as in intensity, its quality (hard or soft), its color, the streets at night. Collaboration between these are some of the paints on the cinema· the cinematographer and the set designer who togra pher's palette. The dark areas and shad­ provides some of the lighting becomes essen· ows are of equal value. It was said by more tial. than one cinematographer: "\Vhat you do In this chapter we will look at the various not see is equally important as what you do aspects of the collaboration between the cine­ see. " The light is there to direct the viewer's matographer and the other vital members of attention, the darkness to stimulate his imagi­ the filmmaking team. Working with the nation. director is one of the most exciting artistic re­ As in all arts there are styles in lighting lationships in this medium. which characterize certain periods or certain WORKING WITH THE DIRECTOR Ideally the cinematographer's relationship at his body of work to evaluate rus style and with the director is a symbiotic one. The cine­ experience. matographer em braces the director's vision and uses his visual talent and technical knowl­ Alexander Mackendrick edge to capture the director's inner thoughts and put them on the screen. Needless to say, It is my impression that most of the cam­ the process of choosing a cinematographer is eramen I kn ow have developed a highly per­ of no small importance to the director. sonal style. They have an individual character that becomes their stock in trade. During the planning for Sweet Smell of Success, the pro­ TilE HIRil\G PROCESS ducer, Harold Hecht, suggested James Wong Many directors choose a cinematographer Howe.

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