{"id":2864,"date":"2013-12-10T15:46:26","date_gmt":"2013-12-10T15:46:26","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2864"},"modified":"2014-06-03T17:54:22","modified_gmt":"2014-06-03T17:54:22","slug":"tangled-up-in-blue","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/tangled-up-in-blue\/","title":{"rendered":"Tangled Up In Blue"},"content":{"rendered":"

Bruno Delbonnel, ASC, AFC, gives voice to the Coen brothers\u2019 chilly new folk saga, Inside Llewyn Davis<\/i>
\n<\/strong><\/p>\n

<\/p>\n

\u201cWhen Joel sent me the script [for Inside Llewyn Davis<\/i>] and said he and Ethan wanted a \u2018slushy, New York look,\u2019\u201d Paris-based cinematographer Bruno Delbonnel, ASC, AFC, recounts over lunch on a recent Hollywood visit, \u201cI immediately thought of the cover of The Freewheelin\u2019 Bob Dylan<\/i>, because I\u2019m a huge fan. When we talked again on the phone, they said, \u2018Yes, that is exactly what we were thinking as the visual inspiration.\u2019\u201d<\/p>\n

Bob Dylan\u2019s second album, which contains \u201cBlowin\u2019 in the Wind,\u201d and \u201cDon\u2019t Think Twice, It\u2019s Alright,\u201d is a classic, and with Inside Llewyn Davis<\/i>, Delbonnel, a three-time Oscar nominee, has lifted his game to a new level \u2013 even though the location-heavy live-performance movie would be a different kind of challenge.<\/p>\n

\u201cAs a DP,\u201d Delbonnel muses, \u201cI\u2019m known for lighting up big, empty, black spaces\u201d on critically acclaimed stage-bound projects like Am\u00e9lie<\/i>, Harry Potter and the Half-Blood Prince<\/i>, and most recently, Tim Burton\u2019s Dark Shadows<\/i>. But the project was also a departure for the industry\u2019s most admired siblings, who have worked with only three other cinematographers in their 30-year career: Barry Sonnenfeld, ASC, Emmanuel Lubezki, ASC, AMC, and the last 11 films with Roger Deakins, ASC.<\/p>\n

\u201cI thought the script was like a folk song, and then I asked myself, what is an American folk song?\u201d Delbonnel continues about approaching Inside Llewyn Davis<\/i>, which traces the downward trajectory of a struggling New York City singer\/songwriter (beautifully played by Oscar Isaac) circa 1961. \u201cAn American folk song is usually sad and depressing with very little hope,\u201d he smiles mischievously. \u201cSo my challenge was how to define this sadness visually within this wet and slushy world the Coens wanted. To me sadness means no sunlight \u2013 no strong beams of light entering the apartments or clubs. My approach was always to have the light falling off into darkness.\u201d<\/p>\n

\"\"<\/p>\n

Fans of the Coens (see Exposure, page 32)<\/b> know the dark (and often hilarious) corners of human misbehavior drive their offbeat narratives. Critics ping them for stories and characters that feel hermetically sealed in a literary imagination. But the musical players of Inside Llewyn Davis<\/i> are recognizable and fingertip-close. That\u2019s due in no small part to the naturalistic lighting by Delbonnel, and the period-perfect art direction by production designer Jess Gonchor, who says it was the closest he\u2019s ever worked with a cinematographer.<\/p>\n

\u201cThe art direction and photography have to be in step or the movie isn\u2019t going to work,\u201d Gonchor explains of the collaboration. \u201cThe Gaslight, a subterranean club in the Village, where there are many live performance scenes, is a great example. Once I designed the set [inside a warehouse in Queens], Bruno and I studied the best way to go about it. There are no windows, so the light all had to be motivated by practical and stage lights.\u201d<\/p>\n

Delbonnel lit the stage with not much more than a large soft box, par cans and a couple of follow spots, noting that he \u201cneeded fill light on the performers\u2019 faces,\u201d and used 2,000 tiny (15-watt) bare bulbs \u201clike a string of Christmas lights.\u201d Gonchor created a \u201cperiod-correct, old-fashioned\u201d lighting system that would hang over the stage (in frame).<\/p>\n

\u201cBruno and I walked that set every day, figuring out where each practical could be placed, with him taking pictures to reference camera angles. It began as just a concrete shell and became my favorite set in the movie, because the lighting and design perfectly match what the brothers wanted: a cold, thinly populated folk club, where the local hacks of the day could all get up from the audience to perform, and then sit back down.\u201d<\/p>\n

Delbonnel and Gonchor were in similar lockstep for the Greenwich Village \u201ccrash pad\u201d of the folk singing couple Jim and Jean (luminously played by Justin Timberlake and Carey Mulligan, respectively). The downtown apartment had specific requirements that included a fire escape and large window (from which the cat Davis is taking care of runs away), and a courtyard where he then gives chase to the cat.<\/p>\n

Compared to another Coen brothers film depicting the same time period, A Serious Man<\/i>, Gonchor observes: \u201cEven though that was also the early 60s, it was Jewish upper-middle-class characters in the suburban Midwest, and a rich, colorful summertime look. Inside Llewyn Davis<\/i> is cold, pre-war apartment buildings and musicians who can\u2019t afford to paint the walls. They\u2019re finding furniture on the street and improvising the look and feel of their lives, and the period design reflects that.\u201d<\/p>\n

Lighting the small, cramped location paralleled the quest of Inside Llewyn Davis\u2019<\/i> characters. \u201cPhotographers and art directors have a similar goal in that the more depth you have in the frame, the more visually pleasing it becomes,\u201d Gonchor continues. \u201cThe couch Llewyn sleeps on is pushed up against the wall and the window \u2013 the only place Bruno had to motivate light. Our discussions were: how I can help him control light? Is the window solid? Can I use sheers or treatments so we don\u2019t see neutral density or diffusion outside? We ended up replacing the glass with something that was period correct, and Bruno did a magnificent job lighting under very difficult circumstances.\u201d<\/p>\n

\u201cThe interior lighting for this film was very simple, and themed around large single sources coming in through windows,\u201d Delbonnel adds, \u201cwhich was fine as long as I could use the depth of the set and let things fall off to black. Jim and Jean\u2019s apartment was a bit tricky because it was so small, with just the one window [the only source for light], and I couldn\u2019t hide anything. The light is flat and soft, and changing out the glass [the Coens said the window seal was not period] for something handmade allowed for some variation and distortion in the single light source.\u201d<\/p>\n

\"\"<\/p>\n

Lighting that underscores, as well as propels, <\/b>the narrative also shines through in the movie\u2019s emotional peak, at least from the standpoint of the main character\u2019s personal odyssey toward some kind of stuttered redemption. After watching Llewyn Davis stagger from one setback to another \u2013 impregnating his friend\u2019s wife (Jean), losing the cat belonging to his uptown friends, Mitch and Lillian Gorfein, in whose couch and red wine he soaks, and embarking on a disastrous road trip with a jazz musician\/heroin addict (played by a blowsy John Goodman) and his sullen driver (Garrett Hedlund) \u2013 Davis finds himself at the \u201cGate of Horn,\u201d a Chicago nightclub that\u2019s his last shot at success.<\/p>\n

He meets with the club\u2019s owner, Bud Grossman (a hard-nosed F. Murray Abraham), hours before the empty space comes to life. The two men sit facing each other in chairs on the floor, as a large sunbeam flows through an open doorway, the only real light in the room. Deep shadows throughout emphasize their coarse roles \u2013 Oscar the desperate supplicant and Bud the powerful benefactor.<\/p>\n

\u201cNeither Jess nor I was keen about shooting [at the NYC\u2019s Gramercy Theater] because it was just a big black hole,\u201d Delbonnel laughs. \u201cJess built fixtures for the walls to create some depth, which, of course, meant we needed some light scattered about the room. The theater was very old and required $30,000 to create a safe overhead rigging system, which the Coens did not have in their budget.\u201d<\/p>\n

Not unlike Llewyn\u2019s audition, Delbonnel had to defendv the added expense to the brothers. \u201cThey said, \u2018Bruno, can you explain your plan to help us justify this money we really don\u2019t have?\u2019\u201d he adds with a smile. \u201cI said it\u2019s the only time in the movie that there is a strong beam of light, and that represents some kind of hope. I have the two 20Ks outside, but I need to create some depth on the walls. Your storyboards show 360 degrees with only one day, so an overhead rig inside is the most realistic plan.\u201d<\/p>\n

According to Delbonnel, the Coens\u2019 response was: \u201cOkay, we understand, but we still don\u2019t have the money! What about giving you a dead spot in the room [instead of 360 degrees] where you can light from?\u201d<\/p>\n

\u201cThey gave me a corner and saved the $30,000,\u201d the DP adds. \u201cThe scene is a turning point and had to be emotional and moody but not obvious, like his standing on stage with a spotlight. This beam from outside shoots across Oscar\u2019s knees and guitar; he\u2019s still in the shade, but there\u2019s hope the light may brighten up his life. I gave Murray Abraham this touch of rim light, like some unmoving God just staring him down.\u201d<\/p>\n

Gonchor says his production design embraced the real location, despite its obvious challenges. \u201cWe\u2019ve all seen places like this at that time of day. A door\u2019s propped open for cleaning, and the chairs are stacked on the tables. It had to look more upscale than the Gaslight, because it represented the big-time to Oscar.<\/p>\n

\u201cI needed to strip-clean the walls of all the visual noise \u2013 exit signs, et cetera \u2013 to bring it back to what it would be in 1961, which is a fairly simple room,\u201d he adds. \u201cTo help with this massive hard source coming in through the door, we had to paint the floors dark. Everything in this movie [regarding the lighting] was a choice [practical versus offscreen], so the collaboration with Bruno was absolutely key to the film.\u201d<\/p>\n

\"\"<\/p>\n

Not every moment hits the deep visual<\/b> bass notes as those at the \u201cGate of Horn.\u201d In the scene in which Davis stops with Goodman and Hedlund at a highway diner in the middle of the night, Delbonnel had suggested to the Coens that they break the darkness by referencing a classic Kubrick frame \u2013 low, wide and overflowing with bright, flat light.<\/p>\n

\u201cWe shot at a cafeteria at Pace University in Westchester County [NY], which was built in the sixties and was basically this box on stilts in the woods, with glass on all four sides,\u201d Gonchor laughs. \u201cBruno hung a giant black curtain to partition the space, with one side open that was glass [where period exteriors would be added in CGI]. We did a lot of reverse angles and cheats to make it look bigger. The thousands of globe fixtures in the frame stretched the room out from a period standpoint, but they didn\u2019t light the scene.\u201d<\/p>\n

The light actually came from a large Kino Flo and silk fluorescent system Delbonnel installed above the globes, which then had to be art-directed to negate being reflected in the window. \u201cIt was such an unexpected and interesting scene,\u201d Gonchor says. \u201cRest stops built over highways were popular in the Midwest at the time, so this was a great partnership [of camera and art] to create that feeling in a completely different space.\u201d<\/p>\n

The rain-soaked alley outside the Gaslight is another striking location, and it bookends the film. A psychically beaten-down Davis heckles a performer inside, and then gets a true ass-whooping from the woman\u2019s husband. (The couple is visiting from Arkansas.)<\/p>\n

\u201cI was ready to light [actor Stephen Payne],\u201d Delbonnel recalls, \u201cand then I heard this incredible voice and suggested we keep him in silhouette the whole time. [His face appears for roughly 12 frames in the finished version.] The Coens said, \u2018Yeah, go for it.\u2019 We had enough elements to light the whole alley, but I decided to just light the wall [against which the actor leans, smoking]. The reflections on the wet ground help, but there\u2019s not even any backlight on [Payne] at all. It\u2019s menacing and unpredictable.\u201d<\/p>\n

\"\"<\/p>\n

Those two words, menacing and unpredictable, are at the opposite end of the spectrum<\/b> of Delbonnel\u2019s workflow with the brothers. He says he cannot recall a more creatively nourishing experience. \u201cThey storyboarded everything and then would just ask me how long it would take to light each scene, without ever asking for changes,\u201d the DP marvels.<\/p>\n

\u201cThe trust went so far that they went to L.A. to sound-mix and left me alone for 10 days to grade the movie. I said, \u2018You\u2019re not going to be in the DI?\u2019 and they said, \u2018No, it\u2019s your light, you know what to do.\u2019<\/p>\n

\u201cWe watched the movie when they got back, and they had about one hour\u2019s worth of notes [lightening the close-ups in the Gate of Horn scene], and that was it. I said, \u2018Wow! Now, I understand why Roger [Deakins] loves to work with you guys so much.\u2019\u201d<\/p>\n

During prep, the brothers gave Delbonnel a very simple shot-list, which he then pored over every morning for a week before offering suggestions \u2013 track versus pan, wide versus close, etc. They then created a storyboard that was religiously followed, which also surprised Delbonnel. \u201cThey see the movie in their heads, and do fourteen to fifteen set-ups per day, going back and forth with the schedule to avoid having to compromise anything. Within this careful structure they give you a lot of freedom.\u201d<\/p>\n

The brothers say Delbonnel and Deakins share the same devotion to \u201cstory first,\u201d and were particularly impressed with Delbonnel\u2019s facility in post. \u201cBruno loves to play around with the image in the computer,\u201d Joel Coen observes. \u201cHe did color [de-saturation] tests and added this blooming [in the DI].\u201d<\/p>\n

\u201cWe actually considered shooting digital [all of their movies have been on film] because of the tests Roger did [with the Alexa on Skyfall<\/i>]. But Bruno said it wasn\u2019t right for this movie, and we completely agreed,\u201d Ethan Coen adds. So they shot on film \u2013 35 mm, 1.85.<\/p>\n

The \u201cplaying around\u201d the brothers describe included \u201cdestroying the image\u201d from a color standpoint in the grade. [Inside Llewyn Davis<\/i> was Delbonnel\u2019s fifth movie with colorist Peter Doyle, now at Technicolor.]<\/p>\n

\u201cThe movie has a lot of magenta and cyan, which you can\u2019t really get from a lab process, or at least not as controlled,\u201d Delbonnel states. \u201cThe blooming and diffusion we added gave the feel of uncoated lenses. But I actually shot with the super sharp Cooke S4\u2019s, with nothing over the lens at all. Uncoated lenses are uncontrollable \u2013 flares, et cetera \u2013 and I needed to control the light and clarity [during shooting] at all times.\u201d<\/p>\n

Delbonnel, who recently finished shooting his first film on digital, Tim Burton\u2019s Big Eyes<\/i>, says he will always choose to [capture] on film \u201cwhen they let me,\u201d using the strengths of digital technology in post, as much as the budget will allow.<\/p>\n

\u201cThe crazy thing now is that digital cameras see more than my own eyes do,\u201d he concludes, \u201cand that\u2019s disruptive because [cinematographers] must rely heavily on technology\u00a0 \u2013 the calibration of a monitor, a vectorscope, et cetera \u2013 to light a story, rather than experience and intuition.\u201d<\/p>\n

CREW LIST > Inside Llewyn Davis<\/strong><\/p>\n

Director of Photography:<\/b> Bruno Delbonnel, ASC, AFC
\nAssistants:<\/b> Bobby Mancuso, Scott Tinsley
\nLoader:<\/b> Nicole Cosgrove
\nSteadicam Operator:<\/b> Maceo Bishop
\nStill Photographer:<\/b> Alison Rosa
\nPublicicst:<\/b> Larry Kaplan<\/p>\n

By David Geffner \/ Photos by\u00a0<\/i>Alison Rosa<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Bruno Delbonnel, ASC, AFC, gives voice to the Coen brothers\u2019 chilly new folk saga, Inside Llewyn Davis<\/p>\n","protected":false},"author":1,"featured_media":3072,"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":[2],"tags":[],"class_list":["post-2864","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nTangled Up In Blue - 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\/tangled-up-in-blue\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tangled Up In Blue - 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