{"id":133,"date":"2008-10-01T12:43:55","date_gmt":"2008-10-01T20:43:55","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=133"},"modified":"2014-06-06T00:12:37","modified_gmt":"2014-06-06T00:12:37","slug":"manifesting-destiny","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/manifesting-destiny\/","title":{"rendered":"Manifesting Destiny"},"content":{"rendered":"

Phedon Papamichael, ASC plays fast and loose [with cinematic conventions] in Oliver Stone\u2019s controversial new biopic<\/strong><\/span><\/p>\n

\u201cThis is the story of a guy who would have been happy to be the commissioner of baseball, but instead wound up as leader of the free world. Though lacking in patience, he does show a measure of charm in some of his dealings with people.\u201d So states cinematographer Phedon Papamichael, ASC, in describing W.<\/em>\u2019s titular character. Like most of his projects, director Oliver Stone\u2019s biopic of outgoing President George W. Bush has generated plenty of controversy in the months leading to its release. (Sources said a handful of major studios passed on W.<\/em>, despite financing that underwrote distribution print and advertising costs.) But those expecting the nation\u2019s 43rd President to be skewered by cinema\u2019s reigning provocateur will be disappointed. \u201cIt\u2019s hard not to play comedy when you have quotes from history that are funnier than anything a writer could make up,\u201d Papamichael allows. \u201cBut that isn\u2019t the picture\u2019s intent; furthermore, it\u2019d be too easy and Oliver wants to accomplish more than that.\u201dEarly reports indicate Stone\u2019s film is loosely structured like an epic Shakespearean tale: W.\u2019s early years as a hell-raising party-boy, followed by his subsequent religious conversion and eventual rise to the national stage and the Presidency, the latter of which continues to provide the White House press corps with fodder.\u00a0 Just back from a scout in the Peloponnesian Mountains for an upcoming directorial effort, Papamichael says there\u2019s some \u201centertainment value\u201d in seeing how Bush\u2019s decision [to invade Iraq] gets as much thought as when he decides he wants to barbecue. But he adds that biopics, by nature, engender sympathy for their subjects. \u201cBush\u2019s problems and mistakes are public knowledge,\u201d says Papamichael. \u201cBut there\u2019s another insight here that humanizes him to a degree.\u201d<\/p>\n

The Campaign\u2019s Early Days<\/h3>\n

The cinematographer\u2019s relationship with Stone dates back to the Stone-produced Wild Palms<\/em> miniseries, just after Papamichael finished a run of films with low-budget producer Roger Corman. The DP says he also interviewed with Stone for On Any Given Sunday<\/em>, calling the experience [tongue firmly in cheek] a \u201cfun\u201d process. \u201cOliver likes to rattle your cage to see if you can hold up to the pressure,\u201d reflects Papamichael. \u201cDuring my Sunday interview, he said he hated all my pictures except for Mousehunt! For this interview, he was strangely complimentary of my recent work.\u201d<\/p>\n

W.<\/em>\u2019s modest $30 million budget (debt financed by independent QED International) featured thirty interior and exterior locations [around Shreveport, Louisiana], plus stage work, all in just 46 days. The camera team benefited from having a pre-rigging crew on the shoot, which only required sets to be built for a few key rooms, i.e., the Oval Office and the Vice-President\u2019s office. \u201cI treated the stage work as much like the location interiors as possible,\u201d Papamichael says, \u201cmaintaining the same exposure relationships. I always motivate using natural type sources through windows. I like to blow out the backdrops and cycs, because the windows on a real location usually read hot.\u201d<\/p>\n

Format-wise, he relied on 3-perf super-35mm, using a pair of Panavision Millennium XLs (one for A-camera, one for SteadiCam), and a Platinum as the third body. The DP carried a full set of Panavision Primos, plus an 11:1 zoom and two 4:1 zooms. Papamichael opted for Fuji\u2019s Eterna 250 stock, which he says has wide latitude. \u201cI used the Fuji 250 for day exteriors on 3:10 From Yuma<\/em>, despite it being a tungsten stock, just because I wanted to maintain the textures,\u201d he explains. \u201cIf I really had to, I\u2019d go to Fuji\u2019s 500 stock for the few extreme conditions.\u201d He adds that his W.<\/em> camera team used a range of Chapman\/Leonard products, including a twin-axis hydrascope remote head, to help make their shots.<\/p>\n

\"\"<\/a><\/p>\n

Political Makeover<\/h3>\n

W.<\/em> jumps back and forth in time, but it was shot chronologically, which helped lead actor Josh Brolin\u2019s physical transformation.\u00a0 Brolin starts off with his natural hairline, and by the time W. runs for governor, his head was shaved to accommodate the first of four wigs. Extensive makeup tests were conducted during prep, but Brolin only wound up with a small application to his nose, to increase his resemblance to Bush in mid-life. \u201cLimiting the prosthetics afforded Josh the greatest freedom of expression,\u201d Papamichael describes. \u201cHe\u2019s a loose, improvisational actor, so we didn\u2019t work to specific marks. With only generalized blocking, depth of field for focus could have been an issue, but in most instances, we were able to keep a T2.8\/4 split.\u201d<\/p>\n

A decision was made to vary the multiple eras in the story with subtle visual cues. \u201cWe made a chart breaking down each period, but nothing a viewer would be conscious of when viewing the picture,\u201d adds Papamichael. Among these applications were a series of filtrations that helped capture Bush in age-appropriate light. Mitchell B and C diffusion were used for wide and tight views of W. as a young man. \u201cIt isn\u2019t as popular these days,\u201d first AC Jose Sanchez allows, \u201cbut in the past it was used to make ladies look better, and it helped Josh play younger.\u201d\u00a0 For Bush\u2019s \u2018middle years\u2019 Papamichael went with regular Tiffen Pro-Mist, ranging from one-eighth to one-quarter, which let things bloom a little, and helped the idea that the character was becoming spiritually awakened. After W. becomes president, the DP opted for one-eighth of Black Pro-Mist for his lens filtration.<\/p>\n

Another method used to convey the 43rd president\u2019s interior tensions involved varying the shutter. \u201cThe early years look a bit starker,\u201d Papamichael reports, \u201cso we went with 90-degree and 120-degree shutters to convey his restlessness and tension, and help emphasize the conflict with his dad [James Cromwell.] We left the shutter effects out of the middle period, but then reemployed them when he is a president in crisis. The film becomes more monochromatic, and I let walls fall off into darkness. We also played some wider angles in the Situation Room, where we didn\u2019t want to spend time covering everybody in singles. The room is like the War Room from Dr. Strangelove<\/em>, so we built a light panel over the conference table to evoke the [Ken Adam-designed] overhead light ring in that film. \u201c<\/p>\n

\"\"<\/a><\/p>\n

A Maverick In The House<\/h3>\n

Allowing for the short schedule, Stone opted for many of shots to be done in just a few takes, although each had its own quality. \u201cA-camera and SteadiCam operator Gary L. Camp would be allowed a more traditional way of framing that would usually be take one,\u201d says Papamichael. \u201cOliver asked me to use Danny Hiele to operate B-camera, and Danny\u2019s take would have a different style. He\u2019s a DP with a music video history. Oliver likes to let accidents play, so even if Danny did some aggressive stuff, like going right in to minimum focus or a bit beyond, Oliver kept telling me to let him go. He\u2019d say, \u2018If we can only use twenty percent of the shot, that\u2019s fine, it\u2019s another option.\u2019 It illustrates how open Oliver is, and the challenge it presents for camera people, myself included.\u00a0 I always want to meet and work with directors who will take me places I wouldn\u2019t go on my own. \u201c<\/p>\n

That sentiment is an apt description for some of W.<\/em>\u2019s extreme shallow-focus shots, where only one area is in sharp focus to convey a distorted perspective. The visual was achieved with the Lensbabies system, pioneered for still camera use and converted to film via Panavision-made adapters. Papamichael characterizes Lensbabies as a technical variant of the Arri lens used by Janusz Kaminski on The Diving Bell and the Butterfly, which allowed for manipulation of the focal plane. \u201cBut while this is like a swing and tilt,\u201d he notes, \u201cyou don\u2019t rotate it into position. You can pull to one side to get a particular plane into focus. The operator is the only one who can see what is happening focus-wise.\u201d\u00a0 The technique was used for a number of subjective shots as well as close-ups. It was applied for W.\u2019s POV when he was drunk, and later when he is trying to listen to preachers, suggesting his drifting perception and limited awareness. To emphasize moments when Bush is overwhelmed or confused, close-ups were used, focusing only on his mouth or one eye.<\/p>\n

\"\"<\/a><\/p>\n

A Wild, Wild Ride<\/h3>\n

Even with extensive pre-visualization by visual effects supervisor John Scheele and Stone\u2019s own pre-planning, W.<\/em> was still a process of discovery, even beyond the use of Danny Hiele\u2019s experimental framing. Papamichael says that Stone is the first to say, \u2018if I get bored with a shot, I won\u2019t use it.\u2019 \u201cOliver will ask for a new lens on take 2, or want to move the setup,\u201d the DP adds,\u00a0 \u201cso my lighting had to allow for these spontaneous adjustments without killing any momentum due to re-rigging.\u00a0 I\u2019ve got forty pictures of experience and it required every trick to help him meet his goals.\u201d<\/p>\n

Such spontaneity can prove painful in more ways than one, as the cinematographer experienced firsthand. After learning to fly, W. celebrates by soloing in a Cessna in a sequence that might be described as Mr. Bush\u2019s Wild Ride. \u201cUsually that\u2019s done with green screen,\u2019\u201d observes Papamichael. \u201cBut Oliver got hold of a clown pilot from an air show and had us up there for real. While Josh pretended to fly, I was completely nauseous from all the maneuvering. Unorthodox as it may sound, Oliver\u2019s approach was the right one, because it gave the scene a crazy energy that makes it work.\u201d<\/p>\n

Partisan politics aside, a claim can be made that the same \u201ccowboy up\u201d daring that led to the improbable rise of George W. Bush as the world\u2019s most powerful man, found a kindred spirit in Stone\u2019s free-form cinematic exploration. Certainly those on W.<\/em>\u2019s camera team will never forget the shoot, which Jose Sanchez calls \u201cone of the finest experiences\u201d of his career, in part due to a pair of ambitious all-in-one shots. \u201cAs planned,\u201d Sanchez explains, \u201cthey were to be the opening and final scenes of the picture, done on location as day and night shoots, and were technically very tough. But we didn\u2019t get shortchanged on time; we got whatever we needed for prep. As a result, we didn\u2019t have to work long hours, but it also meant when you say you\u2019re ready, you had better be really ready.\u201d<\/p>\n

The scenes, which are visual and thematic bookends, offered a true measure of Sanchez\u2019s skills. The first shot opens the film, filling the frame with an extreme close-up of Josh Brolin\u2019s eyes and, with the camera, mounted on a jib arm and circular track, rapidly pulls out to reveal him standing in the center of an empty baseball stadium in bright daylight, the roar of an imaginary crowd deafening around him. The move goes from minimal focus to an extreme wide angle (180 degrees of rotation) in a matter of moments. The final shot of the film echoes the opening, only in reverse, and at night. Back in the baseball stadium, Bush runs back to catch a fly ball and stops, staring up at the big open sky. The Technocrane move starts equally wide and swiftly pushes all the way in to a big-screen close-up of Brolin\u2019s eyes, as he stands, lost, waiting for the ball to come down.<\/p>\n

Papamichael acknowledges the two moves presented obvious focus problems for Sanchez, but adds, that, more than any one sequence, the biggest challenge over the course of the film was simply keeping up with Oliver Stone. \u201cHe\u2019s the hardest working director I\u2019ve ever collaborated with,\u201d Papamichael concludes. \u201cYou\u2019re pushed to the max on his pictures, and when you drive home at the end of the day, you know you\u2019ve earned your salary.\u201d Summing up his thoughts on the film, the cinematographer states, \u201cPeople who like George W. Bush will probably like the movie\u2019s portrayal; in fact, some people might even like him more after seeing the movie.\u201d Speaking to the issue of the film\u2019s authenticity, Papamichael is, well, politically correct (unlike W.<\/em>\u2019s subject matter!). \u201cHonestly, I can only hazard informed guesses,\u201d he grins. \u201cWhether some of the speculative scenes are word-accurate or not to history \u2026 well, who can say what really goes on behind closed doors?\u201d<\/p>\n

Come this election season audiences may finally get to find out.<\/p>\n

by Kevin H. Martin<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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