{"id":6018,"date":"2016-02-03T00:01:30","date_gmt":"2016-02-03T00:01:30","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=6018"},"modified":"2016-02-24T00:52:30","modified_gmt":"2016-02-24T00:52:30","slug":"king-of-comedy","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/","title":{"rendered":"King of Comedy"},"content":{"rendered":"

Roger Deakins, ASC, BSC, helps the Coen brothers gate-crash a 1950\u2019s-era Hollywood movie factory for Hail, Caesar!<\/em><\/strong><\/p>\n

With careers dating back three decades (to Blood Simple<\/em>), Joel and Ethan Coen boast an acclaimed filmography that ranges from farce to fantasy \u2013 often in the same story. Their latest, Universal\u2019s Hail, Caesar!<\/em>, recaptures Hollywood circa 1952 as it depicts the life (and utterly fictionalized times) of studio \u201cfixer\u201d Eddie Mannix (Josh Brolin), whose deft hand is required to squash scandals without offending gossip queens. At the core of Eddie\u2019s dilemma is the kidnapping (a frequent narrative device for the Coens) of Capital Pictures star Baird Whitlock (George Clooney), while Whitlock is filming a biblical epic stylistically evocative of Quo Vadis<\/em> and The Robe<\/em>.<\/p>\n

\"Hail_Caesar1\"<\/a><\/p>\n

To render cinematic success unto Caesar!<\/em><\/strong>, the brothers turned to many of their frequent creative partners, including Roger Deakins, ASC, BSC, here shooting his twelfth film for the Coens.<\/p>\n

\u201cIt was a quite complicated story,\u201d Deakins observes, \u201cone they have been toying with in script form off and on for fifteen years.\u201d The film\u2019s unusual balancing act teeters between everyday reality and the stylized look of the many films glimpsed in production at the studio. \u201cWithin the \u2018real\u2019 part of the film there are moments verging on film noir, and other points that feel distinctly Hitchcockian,\u201d Deakins shares. \u201cReality starts looking like a movie \u2013 or, at the very least, it displays aspects of artificiality.\u201d<\/p>\n

Settling on distinctive looks for the various films being shot on the lot \u2013 movies within the movie \u2013 required hours of planning between Deakins and other members of the Coen brain trust, which included production designer Jess Gonchor and costume designer Mary Zophres, who first worked for the Coens as a P.A. on Barton Fink<\/em>.<\/p>\n

Zophres, who did a month of research even before the film was greenlit, says the Coens\u2019 imaginative scripts always help her to \u201cspur creative interpretation.\u201d By the time preproduction officially started, she had worked up an entire palette for the show.<\/p>\n

\u201cThe Coens liked my idea that reality was going to be desaturated, in mainly earth tones,\u201d the designer recalls. \u201cThese same colors would also be seen in the movies within the movie, but the hues would be altered to garish Technicolor intensities \u2013 an idea that Jess also came up with independently. The costumes in those movies would look like costumes rather than clothing, which also differentiated them from the Eddie Mannix reality aspect, as a matter of both palette and patina.\u201d<\/p>\n

Gonchor describes 1950\u2019s-era MGM as a huge machine, releasing movies nearly every week of the year. \u201cWithin this factory, anything was possible,\u201d he declares. \u201cIf you needed a giant tree, unless it was found within twenty miles, you\u2019d just build it, using in-house sculpture and plaster departments. Fortunately there are still a lot of talented people who remember how to do things like oversized set pieces, which were needed for the Biblical film-within-a-film.\u201d<\/p>\n

The production designer was allowed to review old MGM archive imagery, including rare views of the fabled Thalberg Building. \u201cWe established a geography for the studio lot, then made up a map for the wall of his office showing which stage each of these movies was shooting,\u201d Gonchor continues. \u201cFiguring out the studio layout helped us in another way: 85 percent of this show was going to be in-camera, but there were still things that had to happen through VFX [realized by Psyop Film and Television], though they were usually limited to background aspects.\u201d<\/p>\n

 <\/p>\n

\"Hail,<\/a><\/p>\n

Deakins recalls the initial thought that each genre<\/strong> piece strongly conform to the look of such films in that era. \u201cWe were going to make a much bigger stylistic deal of things,\u201d he acknowledges. \u201cBut as we got into it, we realized there might be too much of a jump when shifting from the real-world story to the shooting of these films. We kept the separate looks, but they are not so apart that it keeps us from making the whole thing look like one single movie.\u201d<\/p>\n

The logistics of recreating period filmmaking were sometimes daunting.<\/p>\n

\u201cWhen we lit the sets of the films within films \u2013 like the crucifixion for instance \u2013 you come out far enough to see the lighting rigs outside the set,\u201d Deakins explains, \u201cso I did have to conform with the kinds of units then in use. That often meant using hard light, even in instances when I would normally have chosen a softer source. Still, it was fun to use those very traditional lighting techniques again, in this unique context.\u201d<\/p>\n

Gaffer Chris Napolitano was amazed to find so many still-functioning period lights. \u201cUniversal had a lot, and [the lights] were mostly in great shape,\u201d he states. \u201cAfter the set decorators got involved, we wound up with lights that functioned both as period props and as practical illumination sources.\u201d Even a few ancient carbon arc lamps were reconditioned for use on the film\u2019s western location (shot at iconic Bronson Canyon), though Deakins doubts they\u2019ll appear in the final cut. Napolitano, who used a modern version of spun glass over the period units (much like the image-softening tools employed during that period), says finding carbons to operate the arcs was challenging.<\/p>\n

Either way, the DP and gaffer worked up extensive lighting diagrams for each set.<\/p>\n

\u201cChris would add a few extra lights anytime he thought I might be skimping a bit,\u201d Deakins laughs. \u201cI needed a fair amount of depth of field; back then they\u2019d shoot to a stop between 4 and 5.6 because that was the sweet spot on lenses, but that was while having to use much slower film emulsions.\u201d<\/p>\n

Zophres recalls the excitement of being able to tap venerable in-town resources.<\/p>\n

\"Hail_Caesar3\"<\/a><\/p>\n

\u201cIn shooting a movie about Hollywood in Hollywood,\u201d she describes, \u201cwe were able to use vendors that haven\u2019t been fully utilized as well as they would be if more shows stayed local. But we still had to beg, borrow and make a lot of deals. Joel explained how their autonomy is based on never going back to the studio for more money, even when they know there isn\u2019t enough to do the film! Fortunately, the Coens know when an element isn\u2019t going to feature in a close-up, so we can put money into the hero pieces.\u201d<\/p>\n

The designer cites an example of this clear-minded efficiency. \u201cWe chose to have the Roman armor manufactured locally and found a source,\u201d she continues. \u201cBut the price would be prohibitive if we needed custom molds for each soldier. Since there was really just George in the foreground, we had them make duplicates of that single casting, saving thousands. With that solution in mind, we also made the tunics one size fits all.\u201d<\/p>\n

A bathing-beauty sequence drew from Esther Williams and Busby Berkeley, while the western derived its look more from period television \u2013 with good guys in white and bad guys in dark costumes. \u201cIt was much more on-the-nose, a glossy look that was miles away from True Grit<\/em>,\u201d says Zophres, who referenced famed fashion designer Charles James\u2019 ball gowns for the parlor drama directed by Ralph Fiennes\u2019 character. \u201cJames would be rolling in his grave to see the actual construction used on these dresses, but they looked fine on the outside for the camera.\u201d<\/p>\n

Anchors Aweigh<\/em> and On the Town<\/em> were visual inspirations in creating the dance numbers featuring Channing Tatum, for which Zophres had to find fabric that both looked right on the dancers and worked for the camera. \u201cMary mentioned that really white costumes were desirable, but that we should probably take them down a bit after testing,\u201d Deakins shares. \u201cIn other circumstances I\u2019d have agreed, but on this show, delivering a unique look for each segment was essential, so I told her to just leave them bright white.\u201d<\/p>\n

\"Hail_Caesar4\"<\/a><\/p>\n

Deakins shot on Kodak Vision3 emulsions, using the 50D<\/strong>, 200T and 500T stocks, while Fotokem handled developing, and EFILM colorist Matt Wallach addressed dailies timing. \u201cI liked the grain and texture of the film image for this particular show,\u201d Deakins continues. \u201cAs Ethan said, this is a film about film, so it made sense for the Coens that we went this route, even though initially I felt the Alexa might be the better choice. Since digital took over the major part of the market, there seems to be a little less back-up market for shooting film, which can create some problems.\u201d<\/p>\n

First AC Andrew Harris reports that digging up some of the equipment to shoot film wasn\u2019t as easy as in past years. \u201cSome of this stuff had gotten pushed pretty far back on the shelf,\u201d he acknowledges. \u201cBut it was nice to be shooting back in L.A. again, since the infrastructure everyone is running from is still a strong one. Roger got his favorite camera back to shoot this one. [Otto Nemenz] had tried to give it to him a few years back, but he thought that was jumping the gun, and I guess this proves he was right.\u201d<\/p>\n

Deakins has relied on the ARRI 535-B since the camera debuted. \u201cI like this camera better than the newer Arriflex,\u201d he says, \u201cbut recently they had been considering having it shipped to the ASC camera museum. Seriously!\u201d Sticking with his traditional tools, which include spherical Zeiss master primes for the Super 35 shoot, Deakins, as is typical, handled a number of the camera moves with an Aerocrane Jib Arm or a Giraffe Crane combined with a remote power pod head. Otherwise the only specialized equipment was an Edge Arm scheduled for a single evening to capture driving shots on the PCH.<\/p>\n

B-camera operator Bela Trutz occasionally supplemented with an Arricam LT, which was actually a key part of the planned coverage. \u201cWhen Roger uses a second camera, the shot is essential and usually it makes the cut,\u201d Trutz reports. \u201cSome camera crews are starting to forget the routines of the film camera workflow, but not Roger\u2019s crew. Getting used to the optical viewfinder again is one of the things you have to deal with; as a Steadicam operator, support equipment is very different between the two media.\u201d<\/p>\n

\"Hail_Caesar5\"<\/a><\/p>\n

Locations throughout Los Angeles were employed. <\/strong>As Gonchor describes: \u201cExcept for Warner, none of the studios look the way they did back then.\u201d He found the iconic architecture of Downtown\u2019s Union Station \u201cideal for shooting the drive-in and walk-in gates\u201d to the fictional studio, as did Deakins.<\/p>\n

Union Station night work was done with Tungsten sources while day exteriors were supplemented using HMI lights and large muslin bounce reflectors. Napolitano relied on Warner and Sony lights while shooting on those stages. He amplified those with his own specialty units (many of which were custom built for Deakins\u2019 specifications on past projects) for the film\u2019s main \u201cLot Studios,\u201d where a Malibu home was recreated.<\/p>\n

For the water musical film-within-a-film, a Hydroflex rig captured underwater shots on Sony\u2019s Stage 30 (the same stage where MGM\u2019s Esther Williams splashed around), in a 15-foot-deep tank that spanned 90 feet by 90 feet with a 45-foot ceiling. Napolitano, who began his career at Paramount in the 1980s when green beds were still hung from perms, says lighting the huge water set was as much instinct as anything else.<\/p>\n

\u201cYou can\u2019t always rely on math to figure the lighting intensities and ratios,\u201d he describes. \u201cThe pool bottom is a good example, because it wasn\u2019t lit down there, so to achieve penetration I upped our lights overhead, from 90 10Ks to 120.\u201d<\/p>\n

To shoot a wacky bit involving an actor defecting to the Soviet Union, the Sony water tank was also used for a full-scale section of a Russian submarine and rowboat. \u201cWe put the rowboat on a gimbal for some wider shots against blue screen,\u201d Deakins recounts, \u201cand used front-lit painted scenic backings for most of the action. Every lamp was direct and without diffusion to mimic the hard lighting used for a scene like this at that period in time; Chris Napolitano added two 5Ks outside of two 10Ks in order to create a wider spread of light to each individual source. This added light \u2018wrap\u2019 and shape to the dark hull of the submarine and a more forgiving light to the faces of the actors.\u201d<\/p>\n

Scenic backings figured elsewhere as well, including one actually made for the 1959 Ben-Hur<\/em>, while the others were executed by J.C. Backings, which resides on the Sony lot. \u201cThey give a slightly less realistic, flatter look,\u201d acknowledges Gonchor. \u201cThere\u2019s some believability, but it is clearly not of photographic quality image-wise.\u201d<\/p>\n

Napolitano lit the painted backings with 5Ks and curtains for the \u201cswimming\u201d scene with a 6-light cyc light. \u201cThe art department hung sheers,\u201d he notes, \u201cbut getting both front-lit and rear-lit backings to read well was tricky, so we\u2019d often work on these during our pre-light days and avoid any nightmare delays during shooting. Our pre-lighting on these big stages meant Joel and Ethan \u2013 who are probably the most efficient filmmakers I\u2019ve ever worked with \u2013 have more time with the actors. We don\u2019t spend four or five hours lighting any stage during regular shooting time \u2013 it\u2019s usually more like an hour.\u201d<\/p>\n

\"Hail,<\/a><\/p>\n

After the Coens finished their cut [using Adobe\u2019s Premiere Pro CC],<\/strong> Deakins relied on EFILM supervising digital colorist Mitch Paulson for his DI. \u201cI like to get as close as I can with the negative,\u201d Deakins reveals, \u201cand try to limit corrections, though sometimes one can use windows or tweak the contrast just a bit in the DI. I find the most complicated thing can be the timing of effects shots so that everything fits together.\u201d<\/p>\n

Paulson, who employs Autodesk Lustre as his main toolset for its flexibility, recalls enhancing the look of headlights on some day-for-night driving scenes, but notes that \u201cthis show was mainly about tweaking the looks for the movies within the movie. Roger comes in knowing exactly what he wants, and I play around with ways to fine-tune to get things that last part of the way. He is the only client who is always there from day one, starting with dailies grades and going through the whole film every day alongside me. He genuinely enjoys seeing what we can accomplish during the DI process.\u201d<\/p>\n

Deakins, who is currently prepping a Blade Runner<\/em> sequel for Denis Villeneuve, says the Coens\u2019 enormous amount of preplanning sets them apart from the \u201cfix it in post\u201d mentality. \u201cThey storyboard very specifically and don\u2019t often deviate from the concept,\u201d the DP reveals, \u201cso there\u2019s never a fear of being caught out, like when another director might reconsider on the day. We achieve tremendous visual benefits as a result of this thoroughness.\u201d<\/p>\n

He offers a dialog scene from Caesar! <\/em>set on the streets of L.A. as an example.<\/p>\n

\u201cWe did one angle shooting in the evening toward North Hollywood, with the reverse handled a week later, miles away and during early morning,\u201d Deakins concludes. \u201cThat odd mix of times and angles was the best way for us to get the low sunlight feel of late evening, with the right light and colors in-camera. I consider this kind of thinking as the real \u2018movie magic,\u2019 as opposed to just visual effects. You can only get away with stuff like this when the process is very structured and built into the schedule, and it happens to be a tremendously fun and wonderful way to work.\u201d<\/p>\n

by Kevin H. Martin \/ photos courtesy of NBC UNIVERSAL<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Roger Deakins, ASC, BSC, helps the Coen brothers gate-crash a 1950\u2019s-era Hollywood movie factory for Hail, Caesar! With careers dating back three decades (to Blood Simple), Joel and Ethan Coen boast an acclaimed filmography that ranges from farce to fantasy \u2013 often in the same story. Their latest, Universal\u2019s Hail, Caesar!, recaptures Hollywood circa 1952 as it depicts the life (and utterly fictionalized times) of studio \u201cfixer\u201d Eddie Mannix (Josh Brolin), whose deft hand is required to squash scandals without […]<\/p>\n","protected":false},"author":1,"featured_media":6020,"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":[383,382,37,38,211,384],"class_list":["post-6018","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-caesar","tag-hail","tag-icg-magazine","tag-international-cinematographers-guild","tag-roger-deakins","tag-the-coen-brothers"],"acf":[],"yoast_head":"\nKing of Comedy - 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\/king-of-comedy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"King of Comedy - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Roger Deakins, ASC, BSC, helps the Coen brothers gate-crash a 1950\u2019s-era Hollywood movie factory for Hail, Caesar! With careers dating back three decades (to Blood Simple), Joel and Ethan Coen boast an acclaimed filmography that ranges from farce to fantasy \u2013 often in the same story. Their latest, Universal\u2019s Hail, Caesar!, recaptures Hollywood circa 1952 as it depicts the life (and utterly fictionalized times) of studio \u201cfixer\u201d Eddie Mannix (Josh Brolin), whose deft hand is required to squash scandals without […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/\" \/>\n<meta property=\"og:site_name\" content=\"ICG Magazine\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/theicgmag\" \/>\n<meta property=\"article:published_time\" content=\"2016-02-03T00:01:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-02-24T00:52:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/02\/Hail_CaesarHEADER.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1400\" \/>\n\t<meta property=\"og:image:height\" content=\"753\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"EDITOR\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:site\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"EDITOR\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/\"},\"author\":{\"name\":\"EDITOR\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\"},\"headline\":\"King of Comedy\",\"datePublished\":\"2016-02-03T00:01:30+00:00\",\"dateModified\":\"2016-02-24T00:52:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/\"},\"wordCount\":2585,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/02\/Hail_CaesarHEADER.jpg\",\"keywords\":[\"Caesar!\",\"Hail\",\"ICG Magazine\",\"International Cinematographers Guild\",\"roger deakins\",\"The Coen Brothers\"],\"articleSection\":[\"Features\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/\",\"name\":\"King of Comedy - 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With careers dating back three decades (to Blood Simple), Joel and Ethan Coen boast an acclaimed filmography that ranges from farce to fantasy \u2013 often in the same story. Their latest, Universal\u2019s Hail, Caesar!, recaptures Hollywood circa 1952 as it depicts the life (and utterly fictionalized times) of studio \u201cfixer\u201d Eddie Mannix (Josh Brolin), whose deft hand is required to squash scandals without […]","og_url":"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/","og_site_name":"ICG Magazine","article_publisher":"http:\/\/www.facebook.com\/theicgmag","article_published_time":"2016-02-03T00:01:30+00:00","article_modified_time":"2016-02-24T00:52:30+00:00","og_image":[{"width":1400,"height":753,"url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/02\/Hail_CaesarHEADER.jpg","type":"image\/jpeg"}],"author":"EDITOR","twitter_card":"summary_large_image","twitter_creator":"@theicgmag","twitter_site":"@theicgmag","twitter_misc":{"Written by":"EDITOR","Est. reading time":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/#article","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/"},"author":{"name":"EDITOR","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a"},"headline":"King of Comedy","datePublished":"2016-02-03T00:01:30+00:00","dateModified":"2016-02-24T00:52:30+00:00","mainEntityOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/"},"wordCount":2585,"publisher":{"@id":"https:\/\/www.icgmagazine.com\/web\/#organization"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/#primaryimage"},"thumbnailUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/02\/Hail_CaesarHEADER.jpg","keywords":["Caesar!","Hail","ICG Magazine","International Cinematographers Guild","roger deakins","The Coen Brothers"],"articleSection":["Features"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/","url":"https:\/\/www.icgmagazine.com\/web\/king-of-comedy\/","name":"King of Comedy - 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