{"id":2206,"date":"2012-11-05T15:14:29","date_gmt":"2012-11-05T15:14:29","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2206"},"modified":"2014-05-29T22:45:10","modified_gmt":"2014-05-29T22:45:10","slug":"a-more-perfect-union","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/a-more-perfect-union\/","title":{"rendered":"A More Perfect Union"},"content":{"rendered":"

Fifteen years ago, Janusz Kaminski shot Amistad <\/em>his third project with director Steven Spielberg, and his second Academy Award nomination \u2013\u00a0<\/strong><\/p>\n

the first being for Schindler\u2019s List<\/em>, which won the Polish-born DP an Oscar. While Kaminski and Spielberg have collaborated on 10 more films since Amistad<\/em>, including A.I. Artificial Intelligence<\/em>, The Terminal<\/em>, Catch Me If You Can<\/em> and Saving Private Ryan<\/em> (which won Kaminski another Oscar), Lincoln<\/em> marks their first return to the mid-1800s, when slavery tore America apart, and the popularity of a new medium called\u00a0 \u201cphotography\u201d etched the nation\u2019s leaders in vivid relief.<\/strong><\/p>\n

Lincoln, written by Pulitzer- and Tony Award-winning playwright Tony Kushner, based on the best-selling book \u201cTeam of Rivals\u201d by historian Doris Kearns Goodwin, masterfully depicts America\u2019s most revered leader using his considerable powers of persuasion and compromise to pass the 13th Amendment to the United States Constitution, which abolished slavery and was a crucial step toward ending the Civil War. Kushner spent years paring down Kearns Goodwin\u2019s exhaustive source material, eventually homing in on the two-month period leading up to ratification, surrender at Appomattox, and assassination.<\/strong><\/p>\n

Daniel Day-Lewis leads a stellar cast that includes<\/strong> Sally Field as Mary Todd Lincoln and Joseph Gordon-Levitt as one of Lincoln\u2019s sons. Spielberg gathered many of his longtime collaborators, including composer John Williams, production designer Rick Carter [see sidebar], and Kaminski. Operator Mitch Dubin, and first AC Mark Spath, both 20-year veterans of Kaminski\u2019s team, led the camera crew. After more than a dozen feature films, Kaminski says he and Spielberg\u2019s communication has been boiled down to an essence. Or as Kaminski puts it: \u201cPart of Steven\u2019s success is his great skill at finding talented people and letting them do their jobs.\u201d<\/p>\n

\"\"<\/p>\n

Lincoln<\/em> was shot in Virginia locations, including the state capitol in Richmond that served as the Confederacy\u2019s base during the Civil War, and the town of Petersburg, which Lincoln actually visited. A 360-degree view of period buildings still exists in Petersburg, and Kaminski says the goal was to create a film that felt naturalistic and true to how we imagine the period, rather than a gritty documentary. Some early tests were done with Technicolor using portrait lenses to vignette the edges of the images, combined with zooming in on a portion of the frame, rendering a more archival feeling. That was dropped for a less self-conscious approach that \u201cembraces the story.\u201d<\/p>\n

Spielberg and Kaminski make no apologies about their preference for film. Like every live-action feature they\u2019ve made together, Lincoln<\/em> was shot in 35 mm, in this case KODAK VISION3 500T Color Negative Film 5219, a stock Kaminski calls \u201cthe best in the world.\u201d The format was 3-perf Super 35 for a widescreen 2.40:1 aspect ratio, like War Horse<\/em>, a departure from Spielberg\u2019s longtime 1.85:1 standard. Capture included a Panavision Platinum and two XLs, one of which was dedicated to Steadicam. The lenses were Panavision Super Speeds.<\/p>\n

\u201cJanusz doesn\u2019t like the sharpness of modern lenses so much,\u201d Spath relates. \u201cSo we used older Super Speeds from Panavision. We had the full set, from a 14 millimeter up to a 180 millimeter. That added to the overall period look of the movie. On War Horse<\/em>, we used the Master Primes, and on Munich<\/em>, we used Cookes. I think War of the Worlds<\/em> and Minority Report <\/em>were Primos. Janusz wants to provide a sharper image if there are a lot of visual effects, and when he wants to soften it up, he\u2019ll use Schneider Classic Soft diffusion filters, which we used on Lincoln<\/em>.\u201d<\/p>\n

\"\"<\/p>\n

Aside from a brief early scene showing hand-to-hand <\/strong>combat, and some post-battle scenes with Honest Abe riding through the devastation, Lincoln<\/em> does not portray the war itself. The focus is on the president\u2019s human relationships and drama with his cabinet, the Congress, and his wife, who is driven mad with grief by the death of their young son.<\/p>\n

While day interiors predominate the story, the lack of electricity in the mid-1800s meant light had to be motivated by oil lamps and candles. \u201cWe usually take tremendous liberties with that idea, and we never really considered using just candles or oil lamps,\u201d Kaminski reports. \u201cYou can\u2019t make a movie with Steven like that. There are just too many camera moves, and it\u2019s too restraining for everyone. We used those sources in the frame, but very seldom did I use existing fixtures to illuminate the actors. I used movie lights \u2013 HMIs, Babies, and Tweenies. We staged scenes against windows with strong sunlight. So you feel the light to some degree.\u201d<\/p>\n

Costumes, makeup and sets, which included recreating period interiors at the White House, including Lincoln\u2019s bedroom, his office and a large corridor, played into this naturalistic approach. \u201cWe didn\u2019t manipulate the look at all,\u201d Kaminski recounts. \u201cOccasionally we would desaturate some colors and stay within the cooler palette, not blue, but cooler. I desaturated a couple of scenes in the DI because we wanted to follow some existing photos of Lincoln that were colorized, and we felt that full color probably would have been too distracting.\u201d<\/p>\n

The filmmakers recreated the poses and framing of several historic period photographs, including one of Lincoln at his inauguration, and one on his deathbed. Day-Lewis\u2019s performance is the heart and soul of the movie, and it became Kaminski\u2019s main priority. He says Spielberg allowed \u201cmany, many\u201d takes. Except for the hand-to-hand combat scene, a single camera was used, in part because the director felt it would help Day-Lewis to only play to one camera.<\/p>\n

\u201cDaniel was amazing,\u201d Kaminski continues. \u201cHe wanted us to refer to him as Mr. President throughout the shoot, which was great. We ended up calling all the actors by the names of the characters they were recreating, which I think was very interesting for the actors as well. It was a very respectful practice, not just requested by Daniel, but also called for by the subject matter.\u201d<\/p>\n

As for the period makeup, the aim was to accentuate wrinkles and Lincoln\u2019s deeply set eyes, as revealed by period photographs. \u201cSteven would frequently request that I not light Daniel\u2019s eyes, which to me means light the eyes, but make them look dark,\u201d Kaminski continues. \u201cWe had a lot of toplight on him and occasionally shot some light from the back, from below. Daniel played a lot of the scenes looking down, not often having eye contact with people. When he did have eye contact with other actors, it gave extra emphasis to the point he was making in his dialogue.\u201d<\/p>\n

\"\"<\/p>\n

Dubin says his collaboration with Day-Lewis was unusual. <\/strong>\u201cAs an operator, the most fun I have is watching actors perform and watch the unleashing of their role,\u201d Dubin remarks. \u201cBecause Daniel Day Lewis is such a method actor, it\u2019s really a different approach. It\u2019s more of an internal process that really can\u2019t be interfered with. You have to respect it from a distance and figure out the best way to capture it without involving him. It\u2019s a different way of working, and a very intense process. Usually on Steven\u2019s movie, since we all know each other so well, it\u2019s a boisterous set. Here, it was very quiet, and everything was done before Daniel stepped on the set. And once he was in, nothing changed. We didn\u2019t rehearse \u2013 we just shot.\u201d<\/p>\n

The film is less \u201ccutty,\u201d according to Kaminski, utilizing grand, wide shots, slow push-ins and graceful edits. This kind of restrained movement was difficult in the Virginia statehouse, which is designed after the U.S. Capitol and also stood in for that location. There was only occasionally room for dollies. Most of the moves were achieved through the use of a Technocrane, which was brought in in pieces and reassembled in the hall.<\/p>\n

\u201cWe still moved the camera,\u201d Dubin recalls. \u201cWe were just clever with how we did it. We had a little jib along with a Scorpio head, and we could usually fly to the right spot.\u201d<\/p>\n

One emblematic shot starts on a newspaper in the Senate chamber, then pulls back on the Technocrane and floats above the Senators, finding carefully cast faces in the group. \u201cI remember that it wasn\u2019t necessarily a tricky focus shot,\u201d says Spath. \u201cIt was more of a timing thing. But when we saw it, I realized how beautiful and flowing it is, and how it brings you into the scene. We don\u2019t see dailies anymore on most projects. But Janusz still wants to see the film printed and projected. So we get an Arri Loc-Pro. When you\u2019re able to see this stuff, you feel more involved and inspired. When it all comes together \u2013 the cranes, the dolly grips, the dance floor, the actors, and the camera \u2013 there\u2019s something magical about watching it on a screen. It gives you confidence, and it\u2019s a kind of reward.\u201d<\/p>\n

Dubin notes that good operating must be story based. \u201cWhen you put your eye to the eyepiece, everything else has to go away,\u201d he says. \u201cYou\u2019ve immersed yourself in the frame. It\u2019s not just composition. It\u2019s not just efficiency of the frame. Operating is almost like an editorial process. It\u2019s also what you choose to exclude from the frame. It\u2019s all of the decisions that you\u2019ve made before the camera even rolls, about what lens, what height, physically where to put it. It must all be based on the best way to tell that story.\u201d<\/p>\n

Kaminski did a digital intermediate at Technicolor. He had done some early photochemical tests with a slight ENR silver retention process, and he used the DI to match that look. He also perfected some rain scenes in which he wasn\u2019t satisfied with the amount of backlight and the resulting visibility of the rain in the original photography.<\/p>\n

\"\"<\/p>\n

\u201cThe DI is liberating because you can manipulate particular scenes,\u201d he says. \u201cYou can apply silver manipulation to certain scenes by doing it to the negatives. Otherwise, you must apply to the whole movie. In the DI, I can increase the contrast, de-saturate and increase the highlights, and create semi-silver retention looks just for certain scenes, which is very interesting.<\/p>\n

\u201cI think the DI also helped a lot in terms of making the windows white rather than warm or yellowish,\u201d he adds. \u201cAnd I was able to increase the contrast much more than I would be able to do with regular printing. It\u2019s a very interesting look.\u201d<\/p>\n

Kaminski was grateful to have his entire Los Angeles crew along for the shoot. \u201cWe did have additional crew from the Richmond area, usually working as a wrap or pre-rig crew,\u201d he concludes. \u201cBut having my entire crew was very helpful and allowed us to make the movie on that schedule, while providing the quality of work we are used to.\u201d<\/p>\n

Spath agrees that the familiarity of the crew leads to efficiency. \u201cOur ability to jump right into the project is important because Steven likes to move fast. Our shooting schedules are short, and there\u2019s a lot to do. The learning curve is eliminated because we have a core group that understands Janusz\u2019s process as well as Steven\u2019s. Mitch understands the shots and can decipher Steven. It\u2019s a good chemistry and a good group.\u201d<\/p>\n

And as Kaminski adds: \u201cWatching this amazing group of actors speaking these beautiful lines written by Tony Kushner, it felt very much like watching a play while we made the movie.\u201d<\/p>\n

by<\/em> <\/em>David Heuring\u00a0 \/ photos by<\/em> <\/em>David James<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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