{"id":1546,"date":"2011-08-03T16:24:19","date_gmt":"2011-08-04T00:24:19","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1546"},"modified":"2014-06-04T21:17:14","modified_gmt":"2014-06-04T21:17:14","slug":"mississippi-queen","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/mississippi-queen\/","title":{"rendered":"Mississippi Queen"},"content":{"rendered":"

Traversing racial and historical divisions on the Deep South location of The Help<\/em>, shot by Stephen Goldblatt, ASC, BSC<\/strong>
\n<\/strong><\/p>\n

<\/p>\n

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(L to R) Jessica Chastain as Celia Foote, Octavia Spencer as Minny Jackson in DreamWorks Pictures The Help.<\/figcaption><\/figure>\n

For a story set in 1960s Mississippi, the place is just as important as the people. Which is why the man who directed the DreamWorks Pictures film adaptation of Kathryn Stockett\u2019s popular novel, The Help<\/em>, set in Jackson, Miss., was bound and determined to shoot on location in the Magnolia State.<\/p>\n

\u201cI wanted Mississippi to be a character in the film,\u201d asserts director Tate Taylor, Jackson, Miss., native and friend of the author. \u201cThe movie deals with the sacrifices of people who faced economic and social hardship and I wanted to give back to a place that still is dealing with these issues.\u201d<\/p>\n

To everyone\u2019s surprise, particularly with tax- and incentive-friendly Louisiana just next door, Taylor won out and the production was shot on location in Greenwood, about 100 miles north of Jackson.<\/p>\n

\u201cWhen I came onto the film \u2014 before any studio involvement \u2014 I was convinced that Tate would be forced to shoot the film in Louisiana for the tax break and tried to prepare him for this fact,\u201d recalls Mark Ricker, a long-time friend of Taylor\u2019s and The Help\u2019s <\/em>production designer.<\/p>\n

\u201cWe went down to Greenwood and the surrounding area as a pre-scout in December so he could show me the area and get my opinion on it,\u201d Ricker continues. \u201cIt was perfect for shooting from an architectural and historical point of view as at least one example of everything we needed was basically right there within 10 minutes of each other. And they were all very shootable locations \u2013\u00a0rooms with size and interest, etc. I think any time you can shoot where a story actually takes place, the project will be influenced positively in all the ways the location seeps into the process.\u201d<\/p>\n

\"\"
Skeeter Phelan (Emma Stone, back to camera) makes a remark that shocks her bridge-playing friends Elizabeth Leefolt (Ahna O’Reilly, seated right) Hilly Holbrook (Bryce Dallas Howard) and Joelene French (Anna Camp), while Aibileen Clark (Oscar nominee Viola Davis, far right) looks on.<\/figcaption><\/figure>\n

Cinematographer Stephen Goldblatt, ASC, BSC, agrees, saying he wouldn\u2019t have had it any other way. \u201cThe architecture, the landscape, the heat \u2013 everything in this film was available in Mississippi. How wonderful.\u201d<\/p>\n

Mostly wonderful, that is, except the conversation turns to the Deep South weather.<\/p>\n

\u201cThere were certain scenes I wanted in end-of-day light that were fine in May when we did our initial scouting,\u201d Goldblatt laughs. \u201cBut in June and July after mid-day they\u2019d have that sheet grey sky and no sunlight at all.\u201d And, oh, yes, intense heat, and thunderstorms every day.<\/p>\n

\u201cWe could do exteriors between 6 a.m. and 10 a.m., before we were battered by the heat and had to move,\u201d he continues. \u201cLuckily, the light was always beautiful in the morning. We had to be more efficient and survive.\u201d<\/p>\n

One example was an outside scene Goldblatt had prepped actors Emma Stone (Eugenia \u201cSkeeter\u201d Phelan) and Bryce Dallas Howard (Hilly Holbrook) for early one morning during production. However, when shooting day arrived, \u201cit had to be [shot] in the afternoon and they were horrified,\u201d Goldblatt recounts. \u201cWe had to take it to a gallery [a shaded passageway or porch, for all you non-Southerners] for some protection.\u201d<\/p>\n

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Stephen Goldblatt, ASC, BSC, checks lighting on The Help.<\/figcaption><\/figure>\n

Weather aside, Mississippi locations added loads of production value <\/strong>to The Help\u2019s <\/em>modest $27-million budget. Ricker says the budget would have been a factor in building any of the larger interiors as stage sets. \u201cIn Greenwood, stately homes were available for shooting at a cheaper price than in Jackson itself,\u201d he explains. Only the interiors of two of the housekeepers, Aibileen (Viola Davis) and Minny (Octavia Spencer), had to be built because the real thing would have been impractical to shoot in.<\/p>\n

Ricker\u2019s preparation for the period project was meticulous. \u201cI\u2019m partial to the fact that all the main characters in the film are seen in and represented by their own homes,\u201d he describes. \u201cThis was a great opportunity to research, accumulate and put into action the specific character choices that gave each set its own character, and to actualize what colors and set decoration would give each set a clear personality. I compiled quite a thick \u2018bible\u2019 of references, which my entire crew received. We had to scour the counties and surrounding area for all the set dressing, but that comes with the territory and it\u2019s a lot of fun \u2014 akin to a great scavenger hunt.\u201d<\/p>\n

Set Decorator Rena DeAngelo and Ricker shared an office surrounded on all sides by bulletin boards pinned up with colors, fabrics, wallpapers and furniture choices that played an important role for costume designer, Sharen Davis.<\/p>\n

\u201cBefore I even met Sharen, I sent her photos of those walls, showing specific choices for each character,\u201d Ricker recalls. \u201cIt was a good introduction for us. After that, as is my experience with most costume designers, we just \u2018feel\u2019 what the other is doing. When Sharen came by to see how the set [for the character of Elizabeth Leefolt] was shaping up, she said, \u2018Oh, I\u2019m doing exactly the same thing\u2026\u2019 So when it works, it works. I think sometimes the success of collaborating with a costume designer in creating a \u2018lived in \u2013 real\u2019 world, is not to collaborate too much.\u201d<\/p>\n

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Minny Jackson (Octavia Spencer) shares a laugh with her best friend, Aibileen Clark (Viola Davis).<\/figcaption><\/figure>\n

Ricker\u2019s approach mirrored Davis\u2019 since she also was creating a distinct look for each major character. \u201cUsually I use one artist and one palette,\u201d Davis explains. \u201cBut I had to throw all that out because each girl was so different. They all had their individual color palette.\u201d Ricker\u2019s \u201clittle prep room was the inspiration for it all.\u201d<\/p>\n

Davis based the start of her research five years prior to 1963, when the story takes place. \u201cWe don\u2019t throw away our clothes every year and get a new closet,\u201d she laughs. \u201cSo I started in the late \u201850s,\u201d which informed the wardrobe of mothers and grandmothers who \u201cwould wear what they<\/em> want.\u201d For the girls, she was influenced more by Seventeen<\/em> than Vogue<\/em>. \u201cThis was the small-town South.\u201d<\/p>\n

Roughly 65 percent of the wardrobe was designed, with most of the outfits of the lead character, Skeeter, made to order. Davis also created the maids\u2019 grey uniforms were based in part on her own 90-something-year-old grandmother, Mama Nellie, who herself was a \u201cdomestic\u201d. \u201cI thought, why is my grandmother wearing this silly uniform?\u201d Davis remembers. \u201cShe worked for nice people and seemed happy, but I didn\u2019t know how my grandmother really felt. I\u2019m sure a lot of people didn\u2019t have her experience.\u201d<\/p>\n

Davis, a two-time Oscar\u00ae nominee for Dreamgirls <\/em>and Ray, <\/em>says her favorite outfit was the \u201cscandalous\u201d hot pink sparkly Christmas dress worn by Jessica Chastain as Celia Foote. \u201cStephen gave me so much time with that,\u201d she smiles. \u201cHe did an amazing job of lighting and setting up shots \u2013 [the outfit] came off very Marilyn Monroe-like.\u201d<\/p>\n

\"\"
Director\/screenwriter Tate Taylor (C) with Emma Stone (L) and Viola Davis (R) in a scene set in Aibileen’s kitchen.<\/figcaption><\/figure>\n

Period accuracy also played into Goldblatt\u2019s mindset<\/strong>. \u201cYou\u2019re not going to be using photographic techniques associated with a period 50 or more years later,\u201d he explains. \u201cThere was some talk of shooting digital, but I wasn\u2019t going to risk that. Film gives you way more latitude.\u201d<\/p>\n

The cinematographer says even an \u201cold-fashioned\u201d crane contributes a different look; so in lieu of using the ultra-contemporary (and expensive) Technocrane, he chose a Chapman. It not only produced the right feel, but was less expensive and available for a longer time. \u201cA Technocrane tempts an unwary DP into shooting something too fancy,\u201d he relates. \u201cI wanted something that was visually representative of the period. It helps establish the feeling of the time \u2013 a classical look with prime lenses.\u201d<\/p>\n

One piece of contemporary gear that did come in handy was deployed for a shot introducing audiences to The Help\u2019s <\/em>singular world: Skeeter <\/em>running into her family home and straight up the stairs to see her mother. \u201cI wanted to bring her through a real front door of a real house,\u201d Goldblatt recalls. \u201cAs she runs to and up the stairs, the camera rises vertically and as she turns corners, the camera rotates 360 degrees, with no cuts.\u201d<\/p>\n

It sounded great in theory. But on the day, Goldblatt confesses, he thought he\u2019d bitten off more than he could chew. \u201cThere was no room to use a traditional crane on the interior,\u201d he laments. \u201cWe needed a camera that could rise vertically as if on a pedestal and then turn.\u201d<\/p>\n

\"\"
(L to R) Stephen Goldblatt, ASC, BSC, Tate Taylor, Cicely Tyson, and Emma Stone on location in Mississippi.<\/figcaption><\/figure>\n

Enter A-camera\/Steadicam operator Will Arnot and dolly grip Andy Crawford, who tracked down a MAT<\/em>–<\/em>TOWERCAM<\/em>\u00ae<\/p>\n

to adapt for the sequence; the rig\u2019s lens height range is 5 to 15 feet \u2014 just higher than they wanted to start the shot and just lower than they wanted to finish it. Crawford and key grip Charlie Saldana made it work by mounting the MAT<\/em>–<\/em>TOWERCAM<\/em> to the boom arm of the Chapman Hybrid dolly.<\/p>\n

\u201cWe could vary the distance between the lens and Emma as we needed,\u201d Goldblatt explains. \u201cThe Libra head couldn\u2019t make the last 30 degree of turn on its own, but we could do it on the dolly.\u201d Arnot finished the sequence using a Steadicam\u00ae.<\/p>\n

Quips Ricker: \u201c[Stephen] devised that rising 360 shot through the stairs that introduces Skeeter\u2019s house, at which point I told him \u2018Ok, you can stay\u2019.\u201d<\/p>\n

\u201cIt\u2019s a beautiful shot and looks very simple. I\u2019m very proud of it,\u201d Goldblatt demurs.<\/p>\n

Though<\/em> The Help\u2019s <\/em>writer\/director isn\u2019t new to the screen <\/strong>(he\u2019s directed a few small movies and had acting roles in Winter\u2019s Bone, Queer as Folk<\/em>, Six Feet Under<\/em> and others), this was his first time at the helm of a major studio release. How important was it to work with a seasoned veteran like Goldblatt? \u201cVital! I learned so much from him and gained a true friend,\u201d Taylor states. \u201cHis expertise and healthy ego allowed me to do my most important job \u2013\u00a0work with the words and actors.\u201d<\/p>\n

Goldblatt says the two had an immediate rapport. And he encouraged Taylor not to sit back at video village during filming, but rather stay by the actors to see acting \u201cfrom the other\u201d side.<\/p>\n

\"\"
Aibileen Clark (Viola Davis) overhears an exchange between Skeeter Phelan (Emma Stone, center) and her friends.<\/figcaption><\/figure>\n

\u201cBecause this was Tate\u2019s first big film, I wanted real dailies,\u201d Goldblatt continues. \u201cI wanted to be able to sit beside him and the editor [Hughes Winborne] and Mark [Ricker] and see what they were seeing. We all had that communal experience of watching dailies and could fix what was wrong or applaud what was right. This is a way of working that\u2019s perhaps unfashionable, but you can catch your technical issues. You can re-shoot and fix and you won\u2019t get three minutes of out-of-focus footage that you don\u2019t know about until the set\u2019s been torn down. If you don\u2019t get real feedback you can\u2019t correct or get better.\u201d<\/p>\n

Working within a tight-knit team framework is vintage Goldblatt.<\/p>\n

\u201cThe director\u2019s your primary focus,\u201d he adds. But you also \u201chave to make the production manager your friend because enmity between the two of you cannot help the team. Same with the production designer. [He and Ricker have collaborated before, most recently on Julie & Julia<\/em>]. You should all hang out in the art department. That\u2019s where you can head off many problems.\u201d<\/p>\n

So successful was the director-DP pairing that Goldblatt and Tate will team up again for a soon-to-be-announced project. \u201cI believe he\u2019s going to have a great career,\u201d the cinematographer predicts. Adds Taylor, \u201cI can’t imagine ever doing a movie without him.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Traversing racial and historical divisions on the Deep South location of The Help, shot by Stephen Goldblatt, ASC, BSC<\/p>\n","protected":false},"author":1,"featured_media":3959,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1546","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nMississippi Queen - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/mississippi-queen\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mississippi Queen - 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