{"id":400,"date":"2009-01-30T16:27:31","date_gmt":"2009-01-31T00:27:31","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=400"},"modified":"2014-06-05T23:10:45","modified_gmt":"2014-06-05T23:10:45","slug":"breakfast-at-tiffanys","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/breakfast-at-tiffanys\/","title":{"rendered":"Breakfast at Tiffany\u2019s"},"content":{"rendered":"

Belgian DP Jo Willems channels a European auteur in PJ Hogan\u2019s fashionable new comedy<\/strong><\/p>\n

<\/address>\n

Capture the out-of-control life of a shopping addict, the frenetic pace of New York City, and the over-the-top fashions lining retail racks. And make it funny. In anamorphic. That was the charge for cinematographer Jo Willems on the sexy new haute couture comedy from the Walt Disney Company called Confessions of a Shopaholic<\/em>. Based on the wildly successful novel of the same name by Sophie Kinsella, the film centers on Rebecca \u201cBecky\u201d Bloomwood (Isla Fisher), a young journalist with a serious shopping addiction. It\u2019s a love story \u2013 between Becky and clothes, and Becky and her suitor, Luke Brandon (Hugh Dancy).<\/p>\n

The film was a definite departure for Willems, whose previous work includes the dark horror film 30 Days of Night<\/em>, the teen dramedy Rocket Science<\/em>, and the thriller Hard Candy<\/em>. A chance to shoot a different genre with director P.J. Hogan of Muriel\u2019s Wedding<\/em> fame made him jump at the opportunity.<\/p>\n

The production team (including Willems, Hogan and production designer Kristi Zea) had a clear directive from executive producer Jerry Bruckheimer to create an iconic yet realistic look for the film. And Willems was determined to avoid the standard romantic comedy look. But finding an alternative that could handle the bright cityscapes and vibrant clothing was a challenge for the Belgium-born cinematographer. \u201cI had never done a movie this colorful, and I usually see things much more de-saturated and devoid of color,\u201d he admits. \u201cWhen I first saw the wardrobe and some of the sets, it was a shock to my system.\u201d<\/p>\n

To do justice to the stylized attire, hairdos and make-up, and production design, Willems decided to channel an iconic filmmaker whose stock in trade is high-key vibrancy. \u201cI imagined we were shooting an early Pedro Almod\u00f3var movie,\u201d the DP confesses. \u201cHe was my style reference, and I kept imagining the film in Spanish, with Almod\u00f3var whispering in my ear, \u2018It’s OK, this is great!\u2019\u201d<\/p>\n

With the clothes being such a huge part of the storyline, it would have been easy to create scenes that looked like a Macy\u2019s ad or an infomercial for a fabric wholesaler. To avoid that, Willems tried not to be overly conscious about the outfits, shooting them with strong color and contrast to keep the frame from washing out or looking flat.<\/p>\n

\u201cA lot of DPs won\u2019t do romantic comedies because they can be limiting and the lighting isn\u2019t too edgy,\u201d notes the New York-based Zea, whose credits include an Oscar\u00ae nomination (as a producer) for another big city romantic comedy, As Good As It Gets<\/em> (1997). \u201cThe genre has a tug-of-war with the visual component. One of the things Jo brought to the table was that he wasn\u2019t afraid to walk that line. He was adaptable to the notion that romantic comedy doesn\u2019t have to mean flat lighting, that it\u2019s better when it isn\u2019t.\u201d The result of the tension was a new look for the genre. \u201cWe were basically working together very specifically to make sure the look of film transcended the genre,\u201d Zea explains. \u201cIt isn\u2019t derivative \u2013 it\u2019s eye-catching, fun and iconic.\u201d<\/p>\n

\"\"<\/p>\n

Anamorphic and Comedy?<\/h3>\n

Hogan and Willems decided to shoot in anamorphic format because it would allow for the richness Willems desired and the \u201cmagical\u201d look Hogan is known for. \u201cWe did discuss the dangers of comedy and shooting in the 2.40 aspect ratio,\u201d Willems says. \u201cWe were frustrated at times, but I\u2019m happy we did it that way.\u201d<\/p>\n

True anamorphic creates a slew of practical and aesthetic issues, the most obvious being the need for multiple lenses for handheld, Steadicam and studio-mode shooting due to lens weight, with some matching up better than others. Certain anamorphic zooms are soft at certain focal lengths, and critical focus is different from series to series. Ultimately, the Shopaholic<\/em> crew settled on the Panavision E-series, C-series, primo zooms and the 40-80 zoom. But the format, coupled with the improvisation and physicality of comedy, created a demanding work environment for the first assistant cameramen.<\/p>\n

\u201cOur focus pullers, Bobby Mancuso and Geb Byers, were up to the challenge of free-roaming actors in the anamorphic format, which was not easy,\u201d says Dave Thompson, the film\u2019s Steadicam operator. \u201cThe concentration they both had to display to not only keep it sharp but also not to laugh at the scene playing out before them was amazing.\u201d<\/p>\n

The Steadicam wasn\u2019t initially planned to be a big part of the film beyond a few walk-and-talks. But the rig\u2019s ability to bring the audience into the action helped establish the out-of-control nature of an addict without being as frenetic, or exhausting, as the overuse of handheld camerawork.<\/p>\n

Take the \u201cchase\u201d scene in which Becky, in debt up to her earrings from her shopping addiction, is pursued by a bill collector in Manhattan\u2019s famed Hearst Building. The action starts on the ground floor as she enters and goes through a turnstile, and then boards one of the four escalators. The debt collector is unaware of her and gets on another escalator that runs parallel but is about four feet lower.<\/p>\n

\u201cThe tough part of the sequence was not getting on the escalator at a fast walk, but keeping both of them in the frame,\u201d Thompson recalls. \u201cThe dialogue continues up the escalator, which is about a two-story ride, and as they step off we are leading her. The debt collector is always in the background while Becky realizes who he is and tries to get away by moving quickly down a hall and into an elevator. It was a very \u2018Hitchcockian\u2019 shot with a comedic flair.\u201d<\/p>\n

\"\"<\/p>\n

New Yawk, New Yawk<\/h3>\n

To capture the go-go nature of life in the Big Apple, the crew shot on location along Fifth Avenue, and in some of its most notable retailers, like Barney\u2019s and Bendel\u2019s. Finding locations that balanced Manhattan\u2019s sophisticated architecture against the wildly colorful window dressing and wardrobe meant Zea and Willems worked closely together. \u201cThe DP and production designer have to work in concert,\u201d Zea describes. \u201cThe sets are nothing if not properly lit or shot. And locations are found and reviewed carefully with the DP because if he can\u2019t light or shoot them, they\u2019re not worth anything.\u201d<\/p>\n

One such favorite example was the Hearst Building, which serves as Becky\u2019s workplace in the film. The property is a startling blend of traditional architecture on the first few floors topped off by a towering steel-and-glass sculptural addition. \u201cIt\u2019s an incredible skyscraper that pulls you right up to the world of high finance and high fashion,\u201d Zea continues, which meant it was eye-catching, but not scene stealing, because as the veteran designer explains, it\u2019s critical not to pull the audience out of the film. \u201cThat\u2019s an important mandate for any good DP or production designer,\u201d she notes. \u201cYou don\u2019t want the shot to be so lit or the set so complicated that people say \u2018great shot\u2019 or \u2018great set\u2019 because that means they\u2019re not following the movie!\u201d<\/p>\n

Another challenge to shooting in New York was climate.<\/p>\n

\u201cCold weather impacts makeup, hair, skin texture, skin tone and performance,\u201d Willems explains. \u201cI can tell you that parkas weren\u2019t a part of the wardrobe design.\u201d<\/p>\n

That meant Fisher had to brave frigid temperatures in fashionable, i.e. teensy-weensy, sexy dresses. Sure, she was given marvelous coats to wear, \u201cbut one was literally taped together to fit right so it offered no protection,\u201d the young Australian actress laughs. \u201cBecky was a hue of blue.\u201d<\/p>\n

To compensate for the chill, gaffer Jay Fortune lit her softly using big frames as close to her as possible. \u201cWe used 18Ks for day and 20Ks for night bounced off 20-by-20 ultra bounce frames and then through 20-by-20 full grid frames,\u201d Fortune describes.<\/p>\n

The leading lady says she appreciated the extra effort in all things lighting. \u201cWhen you\u2019re in your 30s, things don\u2019t translate as well on camera as much,\u201d Fisher laughs. \u201cShadows fall unflatteringly on your face and such. So from a vanity perspective, a good DP is everything.\u201d<\/p>\n

But Fisher also concedes there\u2019s less pressure on her to look a certain way than there is for dramatic actresses. \u201cIn comedy, I\u2019m going to twist my face up in a hideous grimace anyway, so no matter how you light me, I\u2019ll always look slightly rubbery.\u201d<\/p>\n

That\u2019s a relative description given the star\u2019s beauty and natural comedic timing. But either way, Fisher says Willems was critical to her performance. \u201cYou\u2019ve got a very special relationship with the DP because he\u2019s the closest to the camera,\u201d she explains. \u201cThe director is sitting by the monitor, not in your space. But because he\u2019s so close, the DP\u2019s energy affects your performance. Jo was so patient and had great energy. I always take time to develop a good relationship with the DP. Not only because I want to be lit well, but it\u2019s the most intimate thing to have someone watching you so closely.\u201d<\/p>\n

Willems says Fisher\u2019s trickiest scene, from his standpoint, was one in which the camera follows her stiletto a few inches behind the heel while holding her character in the background. Why not use track, you say? Because the entire floor was in the frame! \u201cThe lens had to be so low to the ground and so close to the subject that we had to shoot it spherical,\u201d Willems recalls. \u201cI think we ended up shooting it on a 17.5 mm lens with a Libra head mounted to a Fisher 10.\u201d<\/p>\n

The cinematographer adds that his proudest moment was a \u201cfun surprise\u201d in the bridal store, where Becky\u2019s gal pal Suze is wearing a wedding dress so large it practically devours the duo as they sit on the couch. \u201cThe light that bounces off the dress makes the girls look fantastic,\u201d Willems beams. \u201cIt\u2019s very rare that you can get so much white around someone\u2019s face like that.\u201d In fact, the only elements used to light the store were a few China balls: a 1,500-watt gem ball and a 2K backlight. \u201cIt sure wasn\u2019t the biggest setup we did in the film, but it\u2019s one of my favorite moments.\u201d<\/p>\n

Steadicam operator Thompson says the scene was vintage Willems. The two had recently worked together on the independent Sundance hit Rocket Science<\/em>. \u201cJo\u2019s sense of lighting and camera movement is very organic,\u201d adds Thompson. \u201cAnd he can handle any situation that presents itself. If I could do every movie with him I would.\u201d For his part, the cinematographer notes that Shopaholic<\/em> fed his desire to make films with a social message. Among his influences are Ken Loach and his fellow countrymen the brothers Dardenne, all known for their social commentaries and realist portrayals of the lower classes.<\/p>\n

\u201cI want to make films that don\u2019t just exist in their own world, but have a cultural context,\u201d Willems concludes. \u201cWhen I read Shopaholic<\/em>, it was more than just a couple of girls running around in pretty clothes and doing funny sketches. It\u2019s a movie about debt and how people deal with money and consumption — which is on everybody\u2019s mind at the moment.\u201d<\/p>\n

By Margot Carmichael Lester \/ photos by Robert Zuckerman<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Belgian DP Jo Willems channels a European auteur in PJ Hogan\u2019s fashionable new comedy<\/p>\n","protected":false},"author":1,"featured_media":3881,"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":[239,240],"class_list":["post-400","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-confessions-of-a-shopaholic-cinematography","tag-jo-willems"],"acf":[],"yoast_head":"\nBreakfast at Tiffany\u2019s - 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\/breakfast-at-tiffanys\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Breakfast at Tiffany\u2019s - 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