{"id":589,"date":"2009-08-18T13:20:14","date_gmt":"2009-08-18T21:20:14","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=589"},"modified":"2014-06-02T23:54:19","modified_gmt":"2014-06-02T23:54:19","slug":"axe-men","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/axe-men\/","title":{"rendered":"Axe Men"},"content":{"rendered":"

DPs Erich Roland and Guillermo Navarro, ASC, AMC\u00a0pump up the volume for a new documentary about three legendary rock guitarists<\/p>\n

<\/p>\n

When you consider the varying styles of rock guitarists Jimmy Page, The Edge and Jack White, it\u2019s no surprise a new documentary feature from Sony Classics profiling this terrific trio was shot in assorted formats by two different cinematographers. Erich Roland was the primary DP, shooting much of the location footage; Oscar-winner Guillermo Navarro supervised the jam session\/interview footage shot on an L.A. soundstage. Director Davis Guggenheim, who won an Oscar for his last documentary, the landmark global warming doc An Inconvenient Truth<\/em>, states that he \u201cwanted to use (Page, The Edge, and White) because they each bring completely different talents.\u201d The result, entitled It Might Get Loud<\/em>, is a rich pastiche that showcases the immense talents of these iconic musicians as well as the equally impressive skills of the behind-the-camera team that captured the dialogue and action.<\/p>\n

\"\"
\nWhole Lotta Love<\/strong><\/p>\n

Thomas Tull, chairman and CEO of Legendary Pictures, and It Might Get Loud\u2019s<\/em> producer, recalls that about a year and a half ago, \u201cGuitar Hero became the number one video game and I started thinking, \u2018What is it about this particular instrument that\u2019s so emblematic of rock \u2018n\u2019 roll?\u2019 It became the inspiration to make a movie that was both a celebration of the guitar and the great artists that make it come alive.\u201d Tull says he knew it had to be a documentary, yet adds that he didn\u2019t want to do a \u201cBehind the Music<\/em> treatment, where the movie ends with everyone going to rehab,\u201d he laughs. So he called his old friend Guggenheim. \u201cI said, \u2018I can\u2019t get this out of my head and I\u2019ve never done a documentary.\u2019 The next thing I knew Davis had agreed to direct it!\u201d<\/p>\n

Tull, Guggenheim and business partner Lesley Chilcott decided to avoid all the clich\u00e9d approaches in favor of focusing the narrative on just a few legendary and groundbreaking players. \u201cWe picked (the subjects) based on era and style,\u201d Tull says. \u201cJimmy Page is up there on Mount Olympus \u2013 and he doesn\u2019t put himself out there much, so I wanted to learn more about him. I\u2019m a huge U2 fan, so The Edge and his very different playing style were in. Of the three, I knew the least about Jack White, but he\u2019s really a guitar hero for this age.\u201d<\/p>\n

\"\"<\/p>\n

Mysterious Ways<\/strong><\/p>\n

The production team behind It Might Get Loud<\/em> insists they were determined to make a new kind of rock documentary. \u201cWe decided to look at why these three guys are icons, their love of music and their need to create,\u201d Chilcott says. \u201cYou go in thinking rock and roll is this huge artifice and our hope is to penetrate it enough to make you go, \u2018Ah! This is what it is.\u2019\u201d<\/p>\n

To do that, they eschewed all previous rock doc examples and instead drew on An Inconvenient Truth<\/em>. \u201cThat\u2019s a very different movie, obviously, but one of the obstacles in that film was telling the story of a person everyone in the world thought they knew,\u201d the filmmaker points out. \u201cI think that\u2019s true with these electric guitar players. Even if you aren\u2019t a fan of the music, you feel you know them. That\u2019s the real exciting thing. After An Inconvenient Truth<\/em> people said, \u2018Wow, I never knew that part of Al Gore.\u2019\u201d<\/p>\n

It Might Get Loud<\/em> even includes multiple international locations, just like the Oscar-winning Gore documentary. Footage was shot in an abandoned ramshackle abode in White\u2019s adopted home of Nashville, in the music library at Jimmy Page\u2019s country estate in the U.K., and in the high school where U2 was formed in Dublin, to name just a few.<\/p>\n

And like An Inconvenient Truth<\/em>, each player\u2019s story is told in a variety of formats (with, thankfully, no PowerPoint!). \u201cDavis likes to mix mediums and I do as well,\u201d notes Roland, whose extensive nonfiction background includes an Emmy Award for lighting direction for National Geographic Explorer\u2019s<\/em> \u201cThe Secret Life of Cats,\u201d and an Emmy nomination for cinematography for HBO\u2019s One Survivor Remembers<\/em>. \u201cOften we wanted to shoot film and sometimes HD or digital made more sense,\u201d Roland says. \u201cEspecially when we needed to shoot longer takes in an interview or use multiple cameras where budget or practicality came into play. The 10-minute limitation of a film magazine is a deterrent in an interview situation. Everything these days goes through a digital stage, so mixing mediums becomes an easier choice.\u201d<\/p>\n

The requisite archival footage from performances, tours and home movies makes an appearance alongside some kooky animation that was used to illustrate key points in Jack White and The Edge\u2019s histories. \u201cI wouldn\u2019t have dared do that 10 years ago,\u201d Guggenheim admits. \u201cBut documentaries are evolving more these days. It\u2019s not necessarily about accurate truth; it\u2019s about human truth. If you feel like you\u2019re telling that story of Jack White in his bedroom with drum sets and can animate it in a way that feels truthful in a human way, the audience can absorb that information and understand Jack better.\u201d<\/p>\n

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

Ramble On<\/strong><\/p>\n

That was all part of the production team\u2019s decision to let the story tell them how it needed to be told, so many of the film\u2019s most memorable moments weren\u2019t planned. \u201cThe most important thing for us was to capture the truth of these human beings who are so brilliant,\u201d Navarro says. \u201cWe\u2019ve all seen those prefabricated scenarios \u2013 we wanted to create more of an honesty to this film. So everything\u2019s transparent. The only effect was putting these people together and allowing the audience to watch.\u201d<\/p>\n

Roland puts it another way: \u201cWhen we roll the camera, we don\u2019t know what\u2019s going to happen, so I need to be ready to discover the jewel that can be hidden within the circumstances of a scene and not let technical issues trump the moment\u201d he says. \u201cStylistically, I like to allow the story and situation to speak to me in some way, so a style can develop organically.\u201d<\/p>\n

This mix-and-match mentality meant that the shooters\u2019 gear list rivaled that of The Edge, whose own amazing array of effects pedals and other equipment makes a notable appearance in the film.<\/p>\n

\u201cSixteen millimeter was our first choice for most shooting and we also carried a VariCam for when we needed more runtime or another angle of something and didn\u2019t have another 16 mm body,\u201d Roland reports back of the film\u2019s location shoots. \u201cI use an adapter for the PL mount 16 mm cameras, which allows me to use Canon high definition B4 mount lenses on 16 mm cameras.\u201d<\/p>\n

Not only did the formats mix well, but also it made things easier for Roland to bounce between formats when pulling his own focus. \u201cI usually carry two Canon HD lenses, a 22x telephoto, and an 11x wide-angle zoom,\u201d he says. \u201cBeing familiar with a lens and how far or fast to turn the focus barrel becomes very important when you\u2019re shooting something that won\u2019t happen a second time.\u201d<\/p>\n

For the L.A. portion, when all three of the fret masters are gathered on the same soundstage, Navarro used five Sony F23 444 multi-frame rate cameras for the round robin. Also deployed were a m\u00e9lange of Super 16 mm cameras – ARRI SRIII, ARRI 416, and Aaton – for stand-ups because of their cinematic feel, and a Sony HDW-F900 camera for ENG-style walking around shooting.<\/p>\n

\u201cThe story or mood or scene you\u2019re doing tells you what camera to pick up,\u201d Guggenheim explains. \u201cI hate when someone says, \u2018This is the perfect camera. I\u2019m never going to change.\u2019 I think that\u2019s bullshit! It\u2019s the storytelling that tells you what to use.\u201d<\/p>\n

Salute Your Solution<\/strong><\/p>\n

Following the story as it transpired required the DPs to be ready for almost anything, and that\u2019s one reason Chilcott and Guggenhein chose Roland. \u201cErich\u2019s ability to listen and compose outweighs camera choice \u2013 and he continues to impress us no matter what format we choose,\u201d Chilcott says. \u201cHe just slips in there and gets shots.\u201d [Aside from the It Might Get Loud<\/em> collaboration, Roland worked with Chilcott and Guggenheim to shoot President Barack Obama\u2019s 10-minute film, A Mother\u2019s Promise<\/em>, for the Democratic National Convention.]<\/p>\n

Roland\u2019s talent was evident in capturing challenging yet unplanned scenes like this one: \u201cI was shooting from the passenger seat as Jack White was driving along a country road in Tennessee, and Jack\u2019s nephew was in the back,\u201d Roland begins. \u201cThe shot starts looking out the front windshield as the sun is setting through the trees and coming right down the barrel, so I\u2019m stopped down to bring out the color looking out to the countryside. Then I pan to bring Jack into frame as he\u2019s driving, at the same time pulling the focus into the car from distant countryside and opening the aperture to accommodate the darker interior, all while trying to make a decent frame in a bouncy old car.\u201d<\/p>\n

Not content to stop there, Roland panned to the back seat to see the boy. \u201cSince the sun was setting, I knew there wasn\u2019t going to be a take two or three of this shot,\u201d he admits. \u201cI turned into a pretzel following my desire to keep panning when I wasn\u2019t really prepared in any way to do it. So it was mind over fingers and body strains, in extremely limited space in this old car! If a director had asked for this shot I would have tried to talk him out of it,\u201d he laughs.<\/p>\n

\"\"<\/p>\n

Going to California<\/strong><\/p>\n

Navarro – an old friend of Guggenheim\u2019s – consulted on the overall look and feel of the project, and was the first choice to shoot \u201cThe Summit\u201d sequence, where all three rock gods came together on an L.A. sound stage to talk shop, swap tips and stories, and ultimately jam their assess off! Guggenheim says that the big challenge was \u201cnot only to make one person look great from one angle; he had to make three rock stars look great from every angle. We had cameras looking at every single angle, shooting every single second. How do you make every angle look beautiful? There are only a few people in town who can do that.\u201d<\/p>\n

Having an Oscar-winning cinematographer on the team came in handy (Navarro won for Pan\u2019s Labyrinth<\/em> two years ago).\u00a0 \u201cThe biggest challenge was to photograph them interacting with each other simultaneously,\u201d the DP reflects. \u201cWe were running four or five cameras and what favored one didn\u2019t favor the other; that\u2019s a situation you normally wouldn\u2019t run into. So we built an elaborate lighting schema to fit all of them. We used tungstens and treated it as a stage set. In the end, they were all receiving favorable light regardless of where they were.\u201d<\/p>\n

The result is a warm, intimate feel that exudes the camaraderie evident in this elite club of musicians. \u201cIt doesn\u2019t play like they\u2019re on a stage,\u201d Navarro reports.\u00a0 \u201cIt\u2019s more comfortable and relaxed.\u201d He says the production team was, \u201cjust trying to get everything at the same time and capture the moment so you could experience what we were experiencing.\u201d<\/p>\n

And that visual motif plays out in the form of a crane shot near the end of the film, which reveals the three rockers on the small set ringed by the crew just taking it all in. \u201cThat\u2019s an honest and true shot,\u201d Navarro recalls. \u201cYou see us watching, and you are really peeking in. You\u2019re there with us and there\u2019s nothing awkward about it. There are no groupies yelling. It\u2019s just them playing.\u201d<\/p>\n

Another shot that illustrates this fly-on-a-wall approach even better also occurs near the end of the film. Guitar techs are loading out the electric guitars and suddenly Page, Edge and White begin playing The Band\u2019s classic 1968 anthem, The Weight<\/em> (which may be better known for its chorus, which begins \u201cTake a load off, Annie\u201d), on acoustic guitars.<\/p>\n

\u201cIt just suddenly happened,\u201d Tull admits. \u201cThey wanted to play. We were just standing there thinking, \u2018This is incredible! Let\u2019s hope we\u2019re rolling.\u2019\u201d Luckily, Navarro had the Super 16 in hand and captured the spontaneity of the moment. \u201cOn set, everybody had goose bumps,\u201d Tull continues. \u201cWhen it was over, every one of us looked around and said, \u2018I just witnessed something special.\u2019 Hopefully, people will enjoy it with the same sense of joy and awe we did.\u201d<\/p>\n

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

DPs Erich Roland and Guillermo Navarro, ASC, AMC\u00a0pump up the volume for a new documentary about three legendary rock guitarists<\/p>\n","protected":false},"author":1,"featured_media":3850,"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":[148,143,229],"class_list":["post-589","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-erich-roland","tag-guillermo-navarro-asc","tag-it-might-get-loud-cinematography"],"acf":[],"yoast_head":"\nAxe Men - 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\/axe-men\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Axe Men - 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