{"id":4694,"date":"2014-11-06T16:25:42","date_gmt":"2014-11-06T16:25:42","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=4694"},"modified":"2021-02-28T10:10:13","modified_gmt":"2021-02-28T18:10:13","slug":"see-no-evil","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/see-no-evil\/","title":{"rendered":"See No Evil"},"content":{"rendered":"

Bobby Bukowski undergoes the third degree to recreate the harrowing prison drama Rosewater<\/em>, based on the true-life memoir Then They Came For Me<\/em><\/strong><\/p>\n

Even by the challenging standards nonfiction-inspired filmmaking often presents with locations, budget, gear and crew, Rosewater<\/em>, the feature film debut from political satirist and Emmy-winning TV talk show host Jon Stewart, is off the grid. Shot in Amman, Jordan last summer, when daily temperatures exceeded 100 degrees and local Islamic crewmembers were fasting for the holiday of Ramadan, this tough indie drama put its creators through nearly as many hoops as its real-life protagonist faced.<\/p>\n

First, some background: In 2009, Iranian\/Canadian journalist Maziar Bahari (played in the film by Gael Garc\u00eda Bernal) returned to Tehran to interview Mir-Hossein Moussavi, the prime challenger to incumbent Mahmoud Ahmadinejad on the eve of the country\u2019s presidential election. When only two-thirds of the votes were counted, Ahmadinejad was declared the winner, resulting in spontaneous protests by Moussavi\u2019s supporters that Bahari captured (at great personal risk) with a Sony PD-100.<\/p>\n

After the election, Iran\u2019s Revolutionary Guard arrested Bahari; he was blindfolded, tortured and interrogated for four months by a nameless man who smelled of rosewater. Here\u2019s where it gets really strange: Part of \u201cRosewater\u2019s\u201d case against Bahari came from a satirical interview the journalist did with The Daily Show\u2019s<\/em> Jason Jones in a Tehran caf\u00e9, where Jones, in keffiyeh and dark sunglasses, calls the Newsweek reporter a spy.<\/p>\n

The riveting memoir Bahari wrote about his ordeal, Then They Came For Me:\u00a0 A Family\u2019s Story of Love, Captivity, and Survival<\/em>, revealed the precarious line all journalists walk in an authoritarian society. Bahari appeared on The Daily Show a few months after his release in 2009, and again in 2011, when his book came out, and he and Stewart formed a friendship that led to the unusual collaboration that became Rosewater<\/em>.<\/p>\n

\u201cIn trying to turn Maziar\u2019s story into a [feature] film,\u201d Stewart observes, \u201cwe wanted to stay current with political events, and realized it was going to take too much time [to wait for A-list writers and directors]. We also knew making a film this way [with Stewart writing\/directing on an indie budget] required an experienced team with a solid foundation. Which is why [producers] Scott [Rudin], Lila [Yacoub] and Will [Weiske] connected me with Bobby [Bukowski].\u201d<\/p>\n

\"EB1A9939.jpg\"<\/a>A seasoned Guild indie, who had four features<\/strong> debut at this year\u2019s Toronto International Film Festival including Rosewater, Bukowski recalls his initial meeting with Stewart as being characteristically droll and direct. \u201cJon said: \u2018Do you want to make a movie with a first-time director, in Jordan, in the middle of the summer during Ramadan?\u2019\u201d he laughs, \u201cAnd I said: \u2018that sounds great.\u2019\u201d<\/p>\n

\u201cObviously I knew this project would have many challenges,\u201d Bukowski continues. \u201cBut what was most appealing to me, as a cinematographer, was that more than half the film takes place in an interrogation room and prison cell \u2013 not, inherently, the most visual places to tell a story. I had to go right to the center of intention of each scene and make critical choices about designing the visuals \u2013 handheld versus dolly, wide versus longer lenses, dark versus bright with high contrast \u2013 to help create a visual arc that would mirror the narrative. That was really exciting to pull off.\u201d<\/p>\n

Weiske, who had plenty of his own challenges as UPM including a ban on his crew drinking water in public during Ramadan [he set up blackout tents], says more than 30 percent of the five-week schedule was spent in the prison cell\/interrogation rooms.
\n\u201cWe knew we wanted to build side-by-side sets, but there are no soundstages in Jordan,\u201d Weiske observes. \u201cSo we found a gymnasium, which, of course, had no soundproofing or perms [catwalks] for hanging lights.<\/p>\n

\u201cWe originally planned to build both sets with breakaway walls, so Bobby could vary his lighting,\u201d he adds. \u201cBut that proved too time consuming. There were so many limitations that Bobby and Gerry [production designer Gerald Sullivan] had to go around.\u201d Bukowski says his best option was to light from the set\u2019s only window \u2013 either through \"RW_LM_20130810_0238.jpg\"<\/a>diffusion or bounced off cards to vary time of day \u2013 which was up very high. \u201cI remember being on a technical scout and asking if I could get the window light up on a lift,\u201d the DP recalls, \u201cand they said, \u2018Oh, we can build scaffolding that can be moved.\u2019 So the first day I arrive they had put a very small 1K Tungsten Par on the scaffold. I asked to have it moved five feet to the left. And they said, \u2018Okay, but we\u2019ll need to take it off and reassemble the scaffold.\u2019 I said, \u2018Can\u2019t you just wheel it over five feet? And they said, \u2018The scaffold has four legs and we only have three wheels!\u2019\u201d<\/p>\n

When the prison scenes shifted to night,<\/strong> Bukowski sourced his lighting from fluorescents that the production designer had built to his specifications into the jail cell and adjacent hallway sets. \u201cSometimes I would turn the fluorescent light off that was in the cell and use spillover from fluorescents in the adjacent hallway,\u201d he adds. \u201cIt was all motivated by where Gael\u2019s character was in the story, moving from darkness to light.\u201d<\/p>\n

Stewart describes how his preproduction talks with Bukowski aimed for a quiet inauthenticity. \u201cWhat is so important to me [in nonfiction-based stories] is to lessen the distance between the audience and subject,\u201d he says. \u201cSeeing something that is overtly v\u00e9rit\u00e9 can draw attention to the filmmaking and take you out of the story. I wanted a realism and urgency that wasn\u2019t in your face, as well as a subtle beauty that [Bukowski and Sullivan] could create, given all of their skill and experience.\u201d<\/p>\n

Such moments clearly peak during the long and intricate psychological interplay Bernal\u2019s character undergoes with \u201cRosewater\u201d (played by Kim Bodnia). Bukowski used the ALEXA on an Easyrig, and as Stewart describes, established a rapport and choreography with the actors that helped to lessen the number of takes needed in the interrogation scenes. \u201cUsually we got it on take three,\u201d Stewart recalls.<\/p>\n

\"RW_NK_20130724_0578.jpg\"<\/a>In fact, the prison cell set was so tight, assistant cameraman Michael Burke often had to pull remote focus from a ladder above. \u201cBeing in that small of a space with the actor creates an unspoken choreography where you anticipate each other\u2019s moves,\u201d Bukowski shares. \u201cMy approach to cinematography is that the actors always come first. So in lighting these sets with practical lights, there were spots where [the actors] would go into complete darkness or overexposure. There were no marks on the ground for focus or the chance to carefully modulate any exposure changes. Lighting for a space is a given in documentary filmmaking, and that is definitely the example we followed here.\u201d<\/p>\n

In direct counterpoint to the claustrophobic prison scenes<\/strong> is Rosewater\u2019s<\/em> recreation of a large (initially) peaceful protest march that erupted after the election. As noted, Bahari shot the real event in Tehran. He used a prosumer camera, looking down from a highway overpass on the gathering masses. \u201cJon, Bobby and Gerry took a lot of time to find exteriors in Amman that worked for Tehran,\u201d Weiske explains. \u201cAnd the location we ultimately found was a bridge overlooking a busy road that was the main thoroughfare between downtown Amman and the rest of the city. It took a long time for our local production manager [Fuad Khalil] to coordinate with the police because it was a very big deal to close it down.\u201d<\/p>\n

Other challenges to duplicate the march abounded. The shoot fell right after the end of Ramadan \u2013 an inexact day determined by religious clerics in Saudi Arabia. It\u2019s also a festive time when many Amman residents are with their families.<\/p>\n

\u201cWe hired a local casting person,\u201d Weiske continues. \u201cBut she had a very small pool from which to draw. Jon and Stephen Colbert had used Facebook to attract more than 200,000 people [to their \u201cRally To Restore Sanity And\/Or Fear\u201d on the National Mall in Washington D.C. in 2010], so we did a little video for a Facebook campaign, and we got hundreds of locals to come out. But it was still really challenging, especially for Bobby given the small window of sunlight [three hours] before shadows covered everything.\u201d<\/p>\n

\"RW_LM_20130810_0508.jpg\"<\/a>In fact, Bukowski, who at one point was dressed as an extra and placed in the middle of the crowd, was under no illusions about how the march would be shot. \u201cThe major directive was to get the scene in the can without anybody getting hurt,\u201d he laughs. \u201cThat meant using me and two other operators with cameras in our hands, and no big HMIs on cranes or lifts \u2013 just a few bounce cards and the sun.\u201d<\/p>\n

Stewart wanted some of the large banners of Iran\u2019s Supreme Leader Ayatollah Ali Khamenei that dominated Iran\u2019s 2009 election race to be visible on a building directly behind the highway\u2019s exit ramp. That meant erecting a 20 x 40 foot green screen and separating the local extras from the wall, which Bukowski says was \u201cnot anything like\u201d the documentary techniques otherwise used throughout the film.<\/p>\n

\u201cBecause I knew we would be integrating Maziar\u2019s PD-100 footage from the real demonstration,\u201d he adds, \u201cI tried to \u2018dirty up\u2019 the Alexa a little bit with filters. I also used Panavision\u2019s classic line of uncoated lenses that are more susceptible to flaring. When I\u2019m trying to match, change, or otherwise degrade a look, it\u2019s always about the glass in front of the lens and trying to take away that hyper-sharp modern look.\u201d<\/p>\n

\"RW_LM_20130816_0474.jpg\"<\/a>Another kind of hyperrealism seen throughout Rosewater<\/em><\/strong> is election-era footage, shot in Tehran and used as a pinwheel from which the visual aesthetic spirals around.\u00a0 \u201cIn the world we live in today,\u201d Stewart describes, \u201cpeople are accustomed to seeing a mash-up of all kinds of different media \u2013 cell-phone footage, prosumer, news footage, et cetera \u2013 and I don\u2019t think you can run away from that. We tried to match what existed with a certain aesthetic, but we knew it wasn\u2019t going to be seamless, and that was fine. I just didn\u2019t want [the mixed media] to be really jarring and take people out of the story.\u201d<\/p>\n

Bukowski said he and Stewart boldly incorporated such footage from the outset. \u201cWe would sometimes shoot with DSLR cameras to create even more layers of looks, rather than attempt one overall match,\u201d he relates. \u201cFor example, we used the prosumer camera that Maziar had shot with in Tehran for some of Gael\u2019s POV shots. There\u2019s also some amazing footage that a friend of Maziar\u2019s had done from the back of a motorbike in Tehran \u2013 also at great personal risk as we had asked him to shoot during another Iranian election cycle, when security was really high.\u201d<\/p>\n

Those scenes intercut real Tehran POV footage with reverse angles of Bernal on a motorbike riding through Amman. Bukowski said the Tehran-shot footage revealed many white vehicles on the surrounding streets. \u201cWe put white cars all around Gael\u2019s motorbike and tried to keep the depth of field very narrow, so matching the backgrounds didn\u2019t become a huge issue,\u201d he says. \u201cFortunately, I was able to bring Michael [Burke] to Amman, and his remote focus pulling was key to [the driving scenes]. Also using zoom lenses for some of the scenes meant I needed a free hand to change focal lengths, and pulling my own focus was impossible. Having at least one trusted and familiar face [on the camera team] was very reassuring.\u201d<\/p>\n

\"RW_LM_20130819_0279.jpg\"<\/a>Another moment keyed from real footage is when Bernal\u2019s character video-records a young protestor being shot as he climbs the fence of a government building. \u201cMaziar\u2019s footage of this event showed smoke from a burning car, so we needed to be very specific and add the element of smoke on our location.\u201d Bukowski states. \u201cJon put me right in the middle of this jostling crowd, and it\u2019s the most subjective camerawork in the film. It really conveys what Maziar went through, minus the real danger, of course.\u201d Putting Bukowski in the midst of the chaos, Stewart says, created a \u201cbreadth and scope that didn\u2019t exist with the amount of extras we had.\u201d<\/p>\n

Occasionally, real life became too intrusive, forcing Stewart, on one occasion, to halt production. \u201cWe needed to recreate another spontaneous demonstration in the low-income Tehran neighborhood of Robat Karim,\u201d the director explains. \u201cSo we shot for two days in this former Palestinian refugee camp, which has, I would say, its own internal governance system,\u201d he smiles. \u201cOn the evening of the second day some emotional issues broke out between our Jordanian crew and the locals that just became too volatile, and we all had to head for the roof and \u2018take cover.\u2019 We still got the scene, but from a different [i.e., safer] perspective than we had planned.\u201d<\/p>\n

Bukowski recalls that night of being typical of the constraints this type of moviemaking will encounter, particularly in a foreign location like the Middle East. \u201cJon was concerned that going down into the crowd [as planned] was going to turn into a dangerous situation,\u201d he remembers.\u00a0 \u201cI had put some lights on the streets and nearby buildings to light the actors, but I knew if we sent actors up to the roof, they would not be lit. It was pure documentary filmmaking. And I wasn\u2019t going to stand in the way of that kind of storytelling. Fortunately, in the DI [with Tom Poole at Company 3 NY] I was able to extract some more exposure and it looked beautiful. It\u2019s a hard lesson to learn in how not to over-light,\u201d he smiles.<\/p>\n

\"RW_LM_20130715_0036.jpg\"<\/a>Critics have praised Rosewater<\/em> for its cinematic restraint and humanistic storytelling, due in no small part to the collaborators who surrounded the first-time filmmaker. \u201cHaving never done this before, I had no conception of how difficult it would really be,\u201d Stewart laughs. \u201cBut Bobby, Gerry, Will and everybody did know. And I think because they were so tested, it perhaps gave them more of a sense of ownership. I\u2019ve been [with The Daily Show<\/em>] for 16 years, and we have sanded away every rough edge of production. But out there, making [Rosewater<\/em>] was a completely different experience. I never would have made it without those guys.\u201d<\/p>\n

by David Geffner \/ Photos courtesy of Open Road Films<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Bobby Bukowski undergoes the third degree to recreate the harrowing prison drama Rosewater, based on the true-life memoir Then They Came For Me Even by the challenging standards nonfiction-inspired filmmaking often presents with locations, budget, gear and crew, Rosewater, the feature film debut from political satirist and Emmy-winning TV talk show host Jon Stewart, is off the grid. Shot in Amman, Jordan last summer, when daily temperatures exceeded 100 degrees and local Islamic crewmembers were fasting for the holiday of […]<\/p>\n","protected":false},"author":1,"featured_media":4695,"comment_status":"closed","ping_status":"closed","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":[29,344,343,342,341,340],"class_list":["post-4694","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-cinematography","tag-freedom-of-speech","tag-freedom-of-the-press","tag-iran-politics","tag-jon-stewart","tag-rosewater"],"acf":[],"yoast_head":"\nSee No Evil - 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\/see-no-evil\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"See No Evil - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Bobby Bukowski undergoes the third degree to recreate the harrowing prison drama Rosewater, based on the true-life memoir Then They Came For Me Even by the challenging standards nonfiction-inspired filmmaking often presents with locations, budget, gear and crew, Rosewater, the feature film debut from political satirist and Emmy-winning TV talk show host Jon Stewart, is off the grid. 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