{"id":6570,"date":"2016-11-16T20:05:57","date_gmt":"2016-11-16T20:05:57","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=6570"},"modified":"2021-05-30T20:13:51","modified_gmt":"2021-05-31T03:13:51","slug":"southern-comfort","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/southern-comfort\/","title":{"rendered":"Southern Comfort"},"content":{"rendered":"

Loving<\/em>, the fifth feature Adam Stone has shot for director Jeff Nichols, is nonfiction inspired storytelling as it\u2019s rarely seen \u2013 lush and cinematic.<\/strong><\/p>\n

\"loving1\"<\/p>\n

If you\u2019ve never been to the American south \u2013 where the summer light seems to linger longer, and the wind wraps around stately magnolias a touch slower than in other places \u2013\u00a0then seeing the film r\u00e9sum\u00e9 of indie director Jeff Nichols and his longtime cinematographer, Adam Stone, is a great introduction. Few filmmaking teams (and we can include Nichols\u2019 production designer Chad Keith as part of that mix) allow their narratives to be so visually impacted by a sense of place. As in their debut indie feature, Shotgun Stories<\/em>, followed by Take Shelter<\/em>, Mud<\/em>, Midnight Special<\/em>, and their most recent project (due out November 4 from Focus Features), Loving<\/em>, the dirt, light, sky, clouds, roads, buildings, and rivers in places like Crockett Bluffs, Arkansas; Reserve, Louisiana; and Central Point, Virginia seep into the heart of the storytelling, impacting the lives of narrative characters in compelling (and surprising) ways.<\/p>\n

\"\"<\/p>\n

For <\/strong>Loving<\/em><\/strong>, this approach was doubly unique, given\u00a0<\/strong>source material for the 1960\u2019s true-life tale \u2013\u00a0Nancy Buirski\u2019s Peabody Award-winning 2012 HBO documentary \u2013 was a tempting carrot to emulate.<\/p>\n

\u201cWe had an amazing amount of period color footage at our disposal,\u201d Nichols recounts a few months after Loving\u2019s<\/em> smash debut screening at Cannes. \u201cThat really helped with details like what the cars looked like in the 1960\u2019s \u2013 not oil-rubbed with a diaper by the local restorer who brings his cherry-red Chevy to the set,\u201d he laughs. In fact, Nichols urged Keith and Costume Designer Erin Benach to \u201cdirty up\u201d the physical aspects of the Lovings\u2019 life, much the way the director remembers his own working-class grandparents had lived in the South of that era.<\/p>\n

\u201cWe felt the look and feel of [Caroline County, Virginia] was key to Mildred [Loving\u2019s] character,\u201d he adds. \u201cBeing forced to raise her [three] kids in an asphalt jungle like D.C. \u2013\u00a0so far from the rural life she knew \u2013 was a story point. So visualizing that quiet kind of longing, without it feeling forced, fell on Adam\u2019s shoulders.\u201d<\/p>\n

Stone says Loving<\/em> continues an earthy aesthetic the team has developed over five films, adding that they were \u201ccareful not to try and duplicate the nonfiction film,\u201d he says about visualizing one of America\u2019s most important Civil Rights stories. [See sidebar page 38]<\/p>\n

Keith says he told Nichols that the excellent source footage and \u201cthe tons of period-perfect props, costumes, and furniture\u201d at their disposal were all well and good, \u201cbut we\u2019re making our own film,\u201d the designer recounts. \u201cAnd Jeff told me, \u2018Please keep reminding me of that the whole film.\u2019\u201d<\/p>\n

Clearly, those reminders worked, as Loving<\/em> is suffused with cinematic textures that reflect the couple\u2019s deep connection \u2013 to themselves and their hometown \u2013\u00a0even if that region\u2019s human face at the time was grossly disfigured.<\/p>\n

\u201cIf you\u2019re going to attach small moments to the reality these two people actually faced,\u201d Nichols offers, \u201cthen the aesthetic component \u2013 the look and texture of the lives they led \u2013 becomes massive.\u201d<\/p>\n

Stone, who was raised in Virginia and lives in Charlotte, NC, hit the road with Keith to find real Loving<\/em> locales. He says when working with Nichols, ninety percent of the look of the film becomes the locations. \u201cWe feel that if you bring your actors somewhere else and try to shoehorn the story,\u201d Stone shares, \u201cthen it\u2019s kind of like playing dress-up; the audience will call bullshit on what ends up on the screen.\u201d<\/p>\n

Keith confirms efforts to find the right locations went above and beyond the trio\u2019s usual extensive search. \u201cIt had to be shot where they lived, and it had to show how they lived,\u201d he describes. \u201cThe three of us are so picky; the rule is we all have to agree [on a location] or else it\u2019s a no-go.\u201d<\/p>\n

\u00a0\"loving2\"<\/strong><\/p>\n

Still, even with those best intentions, two key locations in the story<\/strong>\u2013\u00a0the Caroline County jail where the Lovings are first held and the rural farmhouse where they resettle not too far away \u2013 had to be resurrected in nearby Virginia counties.<\/p>\n

\u201cThe jail has been preserved for historical purposes, so we could use the exterior,\u201d Keith recalls. \u201cBut inside it was so small and tight, we couldn\u2019t get the shots Jeff wanted. We found another closed-down jail, in a nearby town, that, once we cleared out all the raccoons, worked really well,\u201d he smiles.<\/p>\n

The original Loving house, also well preserved, featured ceilings so low, the six-foot-plus Stone could barely stand up. The rooms couldn\u2019t accommodate Nichols\u2019 preferred shooting approach \u2013 locking off the Panavision anamorphic rig for mostly static medium shots that never intrude too close on the personal space of the characters.<\/p>\n

Keith notes that because Nichols and Stone always shoot film, and because there was so little practical lighting in the time period portrayed, he worked hard to keep spaces light and bright \u201cto reflect the light Adam could get in there\u201d and to avoid the use of dark window coverings so Stone \u201ccould use as much natural light as possible.\u201d<\/p>\n

Stone, who found the farmhouse that would double as the Loving house, says the location naturally dictated the angles and from where the light would come. \u201cThe key was finding a house with that long dirt road leading up from the surrounding fields,\u201d the DP reflects. \u201cIt\u2019s such a cinematic moment when Richard sees a car approaching, in a whirl of dirt and dust, and he\u2019s terrified it\u2019s the police, coming back to put them in jail.\u201d<\/p>\n

That rural beauty had to be offset by the urban grime when they were forced to resettle in Mildred\u2019s aunt\u2019s house in Washington D.C. Those scenes were shot in Richmond, VA, where a recent renovation boom made finding the right look a challenge.<\/p>\n

\u201cThe house we ended up in was owned by a couple who wanted to renovate but weren\u2019t quite there yet,\u201d Keith recounts, \u201cso we said, \u2018Wait. Don\u2019t do anything!\u2019 It was a two-story shotgun, very close to what the Lovings lived in. We emptied their house, did some wallpapering,\u00a0painting, flooring, and decorated it in period-accurate appliances and furnishings. It was a nice blank slate for us to start with.\u201d<\/p>\n

Stone said the house they found worked well, but the street outside was challenging for lensing exteriors. \u201cThere was never a kind place for the sun to land \u2013 harsh shadows from the house to the curb, and we couldn\u2019t run any overheads due to this ridiculous nest of power lines,\u201d he remembers. \u201cBut being able to shoot a 180 up and down the street with very little digital enhancement and very few extensions sealed the deal.\u201d<\/p>\n

\u00a0\"loving3\"<\/strong><\/p>\n

Nichols insists his goal for any image \u201cis to represent the human experience,<\/strong> and film still does that better than anything else. That can break apart shooting in a car at night,\u201d he says, \u201cwhere it\u2019s difficult to expose for the interior and the outside in the same frame. We did some Alexa in a process trailer on Midnight Special<\/em> for those situations, but I think, with Loving<\/em>, Adam, and our gaffer, Michael Roy, who\u2019s been with us on four films, perfected \u2018our version\u2019 of night. It\u2019s realistic, but also quite cinematic, and all of the decisions we made [shooting night on Loving<\/em>] defined that aesthetic.\u201d<\/p>\n

In fact, one of Stone\u2019s favorite scenes is when Richard smuggles his wife back into Virginia at night. Meeting her brother on a lonely rural road, Mildred jumps out of one car and into another. \u201cThe only true light source on that road would have been the car headlights and moonlight,\u201d Stone explains. \u201cSo we used bounced HMI\u2019s, and it balanced out nicely. We used some day-for-night driving shots at dusk, and could have benefited from an Alexa for POV\u2019s. But shooting with the actors at night [in a process car] on film was so much fun. We only had one Bebee [light]. I would have loved another!\u201d<\/p>\n

The cinematographer chuckles slightly when he recalls that \u201cfor Mud<\/em> [shot in 2012], we had at least five film stocks to choose from \u2013 50D to 250D, 100 to 500 tungsten and a Fuji 500 Daylight. For Loving<\/em>, we shot basically Vision 3 500T and 250D. That\u2019s pretty much all that\u2019s left nowadays, for better or worse. Of course the Vision stock is so well put together, you could shoot everything on 500T and it would still hold up great.\u201d<\/p>\n

Film capture may offer a singular look and feel, but its workflow (in the digital age) is far from ideal. \u201cWe sent the negative back to Fotokem,\u201d Stone describes. \u201cThat was sent to dailies coloring at Efilm, and they would upload the digital transfers so we could watch via an Internet connection \u2013 iPads, iPhones, laptops, et cetera. That\u2019s not super-amazing,\u201d he laughs. \u201cThe other option was getting hard drives on the eVue system, which we watched on a big plasma set up at our location. We mostly used that to see critical focus, and [the system] took up half of [first AC] Dave Regan\u2019s hotel room!\u201d<\/p>\n

\"loving6\"<\/p>\n

Loving<\/em>, an intimate character drama, basks in the wide-screen look. That\u2019s because Nichols says anamorphic perfectly suits his taste in framing. \u201cIt reminds the audience of the beauty of cinema; our dream is to one day shoot in 70 millimeter.\u201d Classic, perhaps, but so much anamorphic love meant other challenges. \u201cLike much more glass, which is tougher on [the first AC],\u201d Nichols adds. \u201cWe\u2019re very fortunate to have had Dave Regan since Take Shelter<\/em>. He\u2019s a Jedi when it comes to pulling focus!\u201d<\/p>\n

Several on-screen moments were designed to showcase the 2.35:1 frame, specifically a high shot looking down on Richard, as he proposes to Mildred in a grassy field. It\u2019s the plot of land where Loving intends to build their home, and the same classic wide-screen frame repeats at the end of the movie, after the Supreme Court ruling. Stone attributes part of the scene\u2019s effectiveness to the G-series anamorphic lenses Panavision provided.<\/p>\n

\u201cWe were a modestly budgeted movie,\u201d the DP relates, \u201cand to have people like Dave Dodson and Dan Sasaki at Panavision reserve and tweak those lenses for us \u2013 knowing they are in high demand for much bigger movies \u2013 made all the difference. For that scene in particular, whatever you hit was the lens\u2019 sweet spot. They are so awesome.\u201d<\/p>\n

Keith agrees, describing the shot in the field where Richard is going to build their house as a \u201cperfect use of anamorphic that sums up what the film is about. They just want to be together,\u201d he says. \u201cI\u2019ve learned a lot working with Adam and Jeff about designing for the anamorphic frame,\u201d the designer adds. \u201cMy goal is always to do my very best to give them a 360-degree look if the money allows.\u201d<\/p>\n

\"loving5\"<\/p>\n

Stone says he and Nichols referenced films they saw growing up, specifically 1980\u2019s Spielberg where the characters are stacked into triangles in the wide and deep anamorphic frame. \u201cThe scene where Richard has been protesting for the release of Mildred at the County courthouse is a good example,\u201d Nichols relates. \u201cHe\u2019s walking out toward camera, and you hear this voice in the background say, \u2018Hey, boy.\u2019 We do a massive focus rack toward the voice, and our attention now shifts to the Sheriff, watching Joel over his shoulder in the same frame. I love this compounding of information that anamorphic allows, even in interior dialogue scenes; it makes the world feel more tangible.\u201d<\/p>\n

\"loving4\"<\/p>\n

Making a real-life story look real yet still cinematic was something <\/strong>Nichols felt very confident his team could achieve, provided certain parameters were met. They had to have a 40-day schedule (not 35 or fewer as financers originally proposed), and the action, particularly behind the camera, had to be limited. That meant no Steadicam. (Mud<\/em> was filled with camera movement that echoed the flowing Mississippi River.)<\/p>\n

\u201cJeff gravitates toward stately framing with the camera pulled back,\u201d Stone describes. \u201cHe\u2019ll always ask, \u2018Whose POV is that?\u2019 meaning the camera never moves around on its own. We also made a point of having a very humane schedule that did not burn anybody out, which was a bit of an issue on our last film, Midnight Special<\/em>. I think that relaxed quality shows up on screen.\u201d<\/p>\n

Nichols says Loving<\/em> was made with more precision than any of his other films.<\/p>\n

\u201cI wanted that frame to be rock solid, because these characters are in a literal and metaphoric prison, but I also wanted movement,\u201d he says. \u201cMy first instinct was dolly. But when I started walking Adam and Rocky [Key Grip Rocky Ford] through the shots, they said: \u2018Jeff, that\u2019s not a dolly. That\u2019s a crane!\u2019\u201d laughs Nichols, who adds he had not prepared a budget for a crane-heavy film.<\/p>\n

\"loving8\"<\/p>\n

The answer was found watching No Country For Old Men<\/em>, shot by Roger Deakins, BSC, ASC. \u201cThey used this great rig that was a dolly with a jib arm on it and a remote head,\u201d Nichols adds. \u201cThe arm gets you off of the dolly track so you can have pretty long moves and not have to be on a Technocrane. As Adam will tell you, I never want unmotivated camera movement. For Loving<\/em>, I tried something that was kind of a risk, in my eyes. Camera movement was dictated by the character\u2019s internal emotions.\u201d<\/p>\n

The best example harks back to when Richard tells Mildred he\u2019s bought the field and plans to build a house for them. Her reaction is complete stillness, outwardly, but her eyes convey her mind is alive with possibility. \u201cThe camera moves in to Mildred very slowly and subtly to reflect that inner thought process,\u201d Stone explains. \u201cThe challenge on this film was always to move the camera in that very clear way.\u201d<\/p>\n

Clarity, in Loving<\/em>, a story about real people who are accurately portrayed in documentary footage, was achieved by creative and often counter-intuitive ways. Or as Nichols describes: \u201cYou don\u2019t have to run around with a hand-held camera in [the characters\u2019] faces and harsh lighting to visualize a nonfiction story.\u201d<\/p>\n

But there were two occasions where documentary footage of the Lovings proved too compelling not to reproduce. \u201cWhen the Lovings leave the Virginia Supreme Court, it was this handoff of the frame from one character to another,\u201d Nichols recalls. \u201cRichard feels so painfully out of place [in the documentary footage], we needed to imply that we were spying on them as well. So the shaky handheld footage felt right.\u201d<\/p>\n

The other is a moment that will stun audiences for its accuracy and emotional integrity. Noted photojournalist Grey Villet (played by Michael Shannon) visits the Lovings at home to produce a LIFE Magazine spread. The series of scenes concludes with the Lovings watching TV on their couch, Richard\u2019s head gently resting in Mildred\u2019s lap. It is the very essence of a devoted married couple; during the end credits the real LIFE Magazine image appears on the screen, confirming the filmmakers\u2019 stunning veracity during their narrative telling of the Lovings\u2019 story.<\/p>\n

\u201cYeah, we pretty much nailed that,\u201d Keith concludes. \u201cIt was really cool.\u201d<\/p>\n

by David Geffner \/ Unit Stills by Ben Rothstein<\/em>
\nFrame Grabs Courtesy of Focus Features<\/em><\/p>\n

\u00a0<\/strong><\/p>\n

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

Loving, the fifth feature Adam Stone has shot for director Jeff Nichols, is nonfiction inspired storytelling as it\u2019s rarely seen \u2013 lush and cinematic. If you\u2019ve never been to the American south \u2013 where the summer light seems to linger longer, and the wind wraps around stately magnolias a touch slower than in other places \u2013\u00a0then seeing the film r\u00e9sum\u00e9 of indie director Jeff Nichols and his longtime cinematographer, Adam Stone, is a great introduction. Few filmmaking teams (and we […]<\/p>\n","protected":false},"author":1,"featured_media":6572,"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":[416,29,420,37,415,419,418,417],"class_list":["post-6570","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-adam-stone","tag-cinematography","tag-film","tag-icg-magazine","tag-jeff-nichols","tag-joel-edgerton","tag-loving","tag-loving-the-movie"],"acf":[],"yoast_head":"\nSouthern Comfort - 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\/southern-comfort\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Southern Comfort - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Loving, the fifth feature Adam Stone has shot for director Jeff Nichols, is nonfiction inspired storytelling as it\u2019s rarely seen \u2013 lush and cinematic. If you\u2019ve never been to the American south \u2013 where the summer light seems to linger longer, and the wind wraps around stately magnolias a touch slower than in other places \u2013\u00a0then seeing the film r\u00e9sum\u00e9 of indie director Jeff Nichols and his longtime cinematographer, Adam Stone, is a great introduction. 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