{"id":4813,"date":"2014-12-03T22:00:23","date_gmt":"2014-12-03T22:00:23","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=4813"},"modified":"2014-12-03T22:00:23","modified_gmt":"2014-12-03T22:00:23","slug":"carry-on","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/carry-on\/","title":{"rendered":"Carry On"},"content":{"rendered":"

The filmmaking team behind the Oscar-winning Dallas Buyers Club<\/i> goes even deeper into the backcountry of indie production with the raw and gorgeous Wild.<\/i><\/p>\n

In 1995, a young woman named Cheryl Strayed set out to hike a large portion of the infamous Pacific Crest Trail (PCT), from the Mojave Desert in California to the Washington border, some 1,100 miles to the north, alone. She had zero experience hiking in high altitude or over long distances, and she carried a backpack she dubbed in her remarkable memoir, Wild: From Lost to Found on the Pacific Crest Trail<\/i>, \u201cMonster,\u201d for its gross overweight (nearly double what most experienced PCT hikers would carry).<\/p>\n

The comically large pack was not her only burden\u00a0 \u2013 Strayed\u2019s mother had died of cancer (at age 45) a few years before, and Strayed had just finalized a divorce with her husband of seven years, mostly because of her own sexual philandering. Her last boyfriend (in Portland, Oregon, where she lives today) had coaxed her into using heroin. In short, Strayed was as profoundly lost as a 26-year-old woman could be before taking her first steps (in hiking boots that were sized too small) into the wilderness on a three-month odyssey fraught with equal parts joy, danger, fear and friendship.<\/p>\n

\"wild1\"<\/a><\/p>\n

From this unlikely redemption story came a New York Times Best Seller,<\/b> and a movie option (while still in galleys) by Reese Witherspoon and her producing partner, Bruna Papandrea (Gone Girl<\/i>, Milk<\/i>).<\/p>\n

Wild<\/i> was logistically and technically demanding, shot in the remote mountains and deserts of southern Oregon. To visualize the story, the women turned to French-Canadian director Jean-Marc Vall\u00e9e and his long-time cinematographer, Yves B\u00e9langer, CSC. The men had met two decades ago doing commercials; their last collaboration was the 2013 rags-to-riches indie feature Dallas Buyers Club<\/i>, which won three Oscars.<\/p>\n

\u201cNick Hornby delivered a script that \u2018broke the back\u2019 of what was clearly a very difficult adaptation,\u201d Papandrea reflects about Wild\u2019s<\/i> upcoming December release by Fox Searchlight Pictures. [Strayed\u2019s book leaps back and forth in time as she hikes the PCT.] \u201cIt provided us with a blueprint for a movie.\u201d<\/p>\n

Papandrea says that once Hornby\u2019s \u201cblueprint\u201d was in place, \u201cit was about finding the most inventive and emotional filmmaker. I had seen all of Jean-Marc\u2019s earlier films \u2013 C.R.A.Z.Y.<\/i>, The Young Victoria<\/i>, Caf\u00e9 de Flore<\/i> \u2013 and knew, from a craft perspective, he was incredibly innovative. When we saw an early version of Dallas Buyers Club<\/i> and its raw, natural style, we pretty much begged him to direct our film,\u201d she laughs.<\/p>\n

Creating a naturalistic look that would reveal the stunning yet harsh natural world that swallows up the main character was no mean feat. Vall\u00e9e says he and B\u00e9langer talked about the four best options for filming Witherspoon on the trail.<\/p>\n

\u201cAre we doing a handheld dolly back, in a medium close-up, and when she stops, we stop; she turns right or left and we cut to her POV?\u201d he recounts. \u201cOr are we waiting in a wide shot as this small woman comes closer from very far away and then exits frame? Maybe we should shoot her from behind and then she enters frame and gradually becomes very small as she walks? Or is it a handheld dolly in from behind? All of these say different things, and we knew we needed to find the best visual language for the film.\u201d<\/p>\n

Vall\u00e9e says he did extensive coverage the first week, trying to find the right balance. \u201cIt soon became obvious the handheld dolly back was the best approach,\u201d he continues. \u201cBut what surprised me in the cutting room was that some of the huge wide shots we did at the beginning were just as emotional as the handheld close-ups that were our visual theme. Seeing Cheryl, once you got to know her better, with this huge pack in a vast open frame, was also powerful. So I moved those early shots to later in the film.\u201d<\/p>\n

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Another key was eschewing the tropes of cinema<\/b> as they had done in Dallas Buyers Club<\/i>. \u201cYves didn\u2019t try to block or reflect light so much as just capture what was there,\u201d Vall\u00e9e describes. \u201cNature, especially in the beginning, is not Cheryl\u2019s friend. It\u2019s tough and harsh. So instead of backlighting Reese with the sun \u2013 having this beautiful rim light and silhouette as you might expect \u2013 we did the opposite. No make-up, direct hard sunlight, with Yves very, very close to her face.\u201d<\/p>\n

So close that B\u00e9langer describes Wild<\/i> as one of \u201cthe most intense working relationships\u201d he\u2019s had ever had with an actor on a film set. \u201cReese and I were feeling the same thing all of the time,\u201d the DP smiles. \u201cWe were both carrying 40 pounds of gear and walking, walking, walking forever.\u201d<\/p>\n

While most would think anamorphic a natural choice for the vast landscapes, \u201cJean-Marc wanted me to do these rack focuses from infinity to 20 inches,\u201d B\u00e9langer continues,\u00a0 \u201cin effect making Reese\u2019s face the landscape. Of course with anamorphic, you can only focus to about three feet, and that wasn\u2019t nearly close enough.\u201d<\/p>\n

Wanting to capture as much color detail and resolution as possible, B\u00e9langer opted to shoot ALEXA ARRIRAW with Master Primes for the trail scenes, and older Zeiss primes for the flashbacks. Since B\u00e9langer was always walking backward and shooting 360 degrees, he relied heavily on Guild 1st AC Paul Santoni, who pulled remote focus off a handheld monitor.<\/p>\n

\u201cWhat was so wonderful to discover in these hiking scenes,\u201d B\u00e9langer observes, \u201cis that because Reese wore no make-up, and I used no artificial light or even bounce cards for the sun; her eyes were so blue and pale they reflected the landscape around us \u2013 the shimmering snow or the green blades of grass. We cinematographers love adding light to control the frame, but we forget that by adding light we are often taking away the natural secondary light that can reveal so much, particularly when you want the face to become a human landscape.\u201d<\/p>\n

\"wild3\"<\/a><\/p>\n

A<\/b>h, landscapes. Wild actually used 55 different locations,<\/b> made even more difficult by restrictions on motorized vehicles and equipment on the PCT. Papandrea says the key to being able to move base camp two to three times a day, \u201cas well as having to trek 30 minutes around Mt. Hood without disturbing a pristine snow field needed for the shot,\u201d was keeping an ultralight footprint. \u201cWe never could have done this movie in a typical Hollywood way with large amounts of grip and electric,\u201d she relates. \u201cOften we would drive in an SUV for miles, park, hike for another 30 minutes, and start shooting with, literally, the most minimal amount of gear I have ever seen.\u201d<\/p>\n

One such scene frames both the movie and the book. Having already lost several toenails (and any hubris about feminine hygiene), Strayed is perched on a ledge above a stunning High Sierra vista. When she removes one aching boot \u2013 her lifeline between success and failure \u2013 it slips over the precipice. Then, in complete physical and emotional surrender, Strayed hurls the other boot off the mountain.<\/p>\n

\u201cWe shot this scene near a ski resort in Southern Oregon, and Reese and Yves were harnessed the whole time,\u201d Papandrea describes of the vertiginous location. \u201cWe had to meet with The Oregon Film Commission, The National Forestry Representative, and The Pacific Crest Trail Association, who made sure all the PCT signage in the film was correct, and cleared the way with permits. Most of the PCT is in fragile and protected wilderness, and since those were mainly off-limits, the challenge was to find remote locations that matched the look of the PCT.\u201d<\/p>\n

All of Wild\u2019s<\/i> flashbacks, including those of Strayed\u2019s tumultuous relationship with her mother, Bobbi (played by Laura Dern), in Minnesota, as well as her marriage and divorce, were shot in and around Portland. A key scene where Strayed reconnects with hikers she has met on the PCT, at Kennedy Meadows in California\u2019s High Sierras, was recreated outside Bend, while a fleeting romance she has during a break from the trail was filmed in the event\u2019s real location, Ashland.<\/p>\n

Most were shot in the same spirit as the PCT exteriors \u2013 handheld ALEXA, with B\u00e9langer staying between T2 and T2.8, and all practical lighting. The cinematographer rode the lens aperture to account for differences between shadow and light, and\/or simply changed the ASA, easily accessible in the ALEXA\u2019s viewfinder.<\/p>\n

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\u201cTwo notable exceptions were a long scene in the forest at night during a rainstorm, which is supposed to be only moonlight, and I had to put a light up on a crane,\u201d B\u00e9langer recalls. \u201cAnd a scene in a Minnesota diner, where Cheryl is talking to her friend. It\u2019s supposed to be daytime and snowing, but we shot in Portland on a clear, beautiful night.\u201d<\/p>\n

B\u00e9langer green-screened about 25 feet outside the windows, lighting for the VFX insert that Vall\u00e9e would later create in post, as well as the actors inside. \u201cWe also did green screen for the red fox [which symbolizes Bobbi\u2019s spirit watching over Strayed] that she sees on the trail,\u201d he adds.<\/p>\n

\u201cJean-Marc is quite brilliant in how he uses visual effects,\u201d Papandrea shares. \u201cIt\u2019s done in a very practical way that often helps the art department, and everyone else, stay on budget and schedule.\u201d<\/p>\n

In fact, Vall\u00e9e says the 200 VFX shots in Wild<\/i> are completely transparent and only there to serve the story. \u201cAn example is the dozen or so shots we had to flop in post,\u201d he describes. \u201cCheryl is always seen walking from left to right to create the feeling of progression. But a few times Yves and I forgot and we shot her going right to left!<\/p>\n

\u201cThe only problem is that as she keeps hiking, she gets more scars and wounds on her arms, face, and legs,\u201d he adds. \u201cSo I had to erase all of those wounds and scars [on the flopped shots], one-by-one, and move them to the other side of her body.\u201d<\/p>\n

Another example of VFX enhancement on an indie budget is a scene where Vall\u00e9e wanted B\u00e9langer to reference the classic wide-screen Lawrence of Arabia<\/i>.<\/p>\n

\u201cThat moment when Peter O\u2019Toole sees Omar Sharif on the horse approaching from very far away,\u201d the director continues. \u201cWhen Cheryl sees these two hunters coming\u00a0 \u2013 which turns out to be her most threatening human encounter \u2013 it was the same idea of danger approaching. Yves shot some takes with fog and some where it had burned off, and I needed to use both, so we enhanced the fog in post to make it all seamless.\u201d<\/p>\n

\"wild5\"<\/a><\/p>\n

Strayed\u2019s book is structured in flashbacks;<\/b> one great asset to Wild\u2019s<\/i> emotive visuals is Hornby\u2019s screenplay, which carefully elucidates how the mind can wander on a long solo journey.<\/p>\n

\u201cCheryl remembers a line or a detail and we go hurtling back in time for a moment, then return to the present, then pick out another memory and flashback,\u201d B\u00e9langer describes. And because the real Cheryl Strayed had no audio device on the trail, the \u201cobvious choice\u201d for Vall\u00e9e was to have the music come only in her memories.<\/p>\n

\u201cShe\u2019s humming or singing to herself on the trail and that brings us back to another time in her life,\u201d Vall\u00e9e explains. \u201cWe wanted the audience inside Cheryl\u2019s head \u2013 whatever she thinks, sees, or dreams while walking, we are there with her.\u201d<\/p>\n

One of Wild\u2019s<\/i> most ethereal scenes is just such a moment. Deep into her journey, Strayed encounters a llama wandering on the trail. As she corrals the animal, an elderly woman and her young grandson appear to claim him. The boy\u2019s questions about her mother freezes Strayed in place. When he begins to sing a lilting version of Red River Valley<\/i>, she is propelled back to her early childhood, and a deeply felt memory of Bobbi singing the same song to Strayed and her siblings. When the scene returns to the forest, Strayed crumbles to her knees, tearful and overwhelmed.<\/p>\n

\u201cWe were trying to convey this with humility and a less-is-more approach,\u201d Vall\u00e9e recounts. \u201cThe way she looks at the boy, what he represents in her journey; that moment was just\u2026amazing. She looks up at the sky and for the first time really acknowledges how much she misses her mother, and then she sees the many moments of her journey that have brought her to this point. The acting, the cinematography, the editing \u2013 everything is in perfect sync with the story.\u201d<\/p>\n

B\u00e9langer agrees, citing a famous quote from Swedish auteur Ingmar Bergman that \u201cyou work ten hours a day on a movie set [or location] to get one minute of magic.\u201d<\/p>\n

\u201cIt was raining a lot that day,\u201d B\u00e9langer adds, \u201cand usually there would be too much concern about exposure to even shoot. But the super-soft light actually enhanced the colors, particularly the greens. Jean-Marc is such a courageous filmmaker. I think our experience, along with these fantastic human qualities from the little boy and Reese, gave us the strength to just go for it.\u201d<\/p>\n

The friendships Strayed makes on the trail ultimately save her \u2013 and the same can be said for the creative adventures of Vall\u00e9e and B\u00e9langer.<\/p>\n

\u201cWhat I love about Yves is that he is willing to get out of his comfort zone to serve the story and acting,\u201d Vall\u00e9e concludes. \u201cI mean, how many DPs would accept making a film like this with zero lights? He\u2019s saying to me, \u2018Jean-Marc, this scene is so under- or overexposed, I am never going to get hired again.\u2019 But then we get in the grading room and there\u2019s almost nothing to do because he\u2019s done such a beautiful job.\u201d<\/p>\n

Papandrea laughs when she recalls a key moment early in the film: hungry and fearful, Strayed chases after a man on a nearby road at dusk. \u201cI could barely see my own hands, let alone the actors and the car they were riding in,\u201d Papandrea remembers. \u201cIt\u2019s a tribute to Yves that he had the confidence to just keep going to capture the urgency of that scene, and it\u2019s key to the way he and Jean-Marc work. It\u2019s a bit scary, yet very liberating.\u201d<\/p>\n

While B\u00e9langer says it\u2019s true Vall\u00e9e once again put him well outside his comfort zone, \u201cwe were much luckier on Wild<\/i> [than we were on Dallas Buyers Club<\/i>],\u201d he says. \u201cEvery time I needed it to be overcast, so the windows in a scene didn\u2019t blow out, or I needed rain on the trail and we couldn\u2019t use a rain machine, we got it! I think Jean-Marc and I are starting to really figure this [type of filmmaking] out. But it doesn\u2019t hurt to be lucky.\u201d<\/p>\n

by David Geffner \/ photos by Anne Marie Fox<\/strong><\/em><\/p>\n

 <\/p>\n

CREW LIST > Wild<\/i><\/p>\n

Dir. of Photography:<\/b> Yves Belanger<\/p>\n

Operator:<\/b> Steve Campanelli<\/p>\n

Assistants:<\/b> Paul Santoni, Liam Sinnott<\/p>\n

Still Photographer:<\/b> Anne Marie Fox<\/p>\n

Publicist:<\/b> Toni Atterbury<\/p>\n

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

The filmmaking team behind the Oscar-winning Dallas Buyers Club goes even deeper into the backcountry of indie production with the raw and gorgeous Wild. In 1995, a young woman named Cheryl Strayed set out to hike a large portion of the infamous Pacific Crest Trail (PCT), from the Mojave Desert in California to the Washington border, some 1,100 miles to the north, alone. She had zero experience hiking in high altitude or over long distances, and she carried a backpack […]<\/p>\n","protected":false},"author":1,"featured_media":4814,"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":[29,347,346,345],"class_list":["post-4813","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-cinematography","tag-dallas-buyers-club","tag-reese-witherspoon","tag-wild"],"acf":[],"yoast_head":"\nCarry On - 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\/carry-on\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Carry On - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"The filmmaking team behind the Oscar-winning Dallas Buyers Club goes even deeper into the backcountry of indie production with the raw and gorgeous Wild. 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