{"id":7268,"date":"2017-09-14T16:15:19","date_gmt":"2017-09-14T23:15:19","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=7268"},"modified":"2021-05-30T20:01:12","modified_gmt":"2021-05-31T03:01:12","slug":"deep-cover","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/deep-cover\/","title":{"rendered":"Deep Cover"},"content":{"rendered":"

The creators of\u00a0The Wire\u00a0and\u00a0Treme\u00a0return to television for this gritty look at the origins of the porn industry \u2013 and a long-vanished world on New York City\u2019s 42nd\u00a0St.<\/span><\/p>\n

Standing in Times Square in 2017, watching moms and dads\u00a0with strollers and international tourists cue up for the latest Disney musical, it\u2019s hard to imagine the beating heart of America\u2019s most visited city was once a gritty paradise of drug dealers, peep shows, porn films and SRO\u2019s catering to the many sex workers whose \u201coffice\u201d was New York\u2019s fabled 42nd\u00a0St. But to hear George Pelecanos, executive producer and co-creator of the new HBO series\u00a0The Deuce tell it, the stories shared by one lone survivor were just too compelling\u00a0not\u00a0to become must-see television.<\/p>\n

\u201cThe Deuce\u00a0is right in our wheelhouse,\u201d Pelecanos\u00a0explains, meaning it is a layered, multi-character look at an urban American city, as in\u00a0The Wire\u00a0and\u00a0Treme.\u00a0\u201cBut it came about by chance. David [Co-Creator David Simon] and I met a guy who had a bar that was mobbed up back in the day \u2013 the 70\u2019s and 80\u2019s, on 42nd\u00a0Street. He was the last man standing from that world and wanted to talk.\u201d<\/p>\n

Pelecanos recounts how that simple two-hour meeting made it clear to him and Simon that the former bar owner\u2019s stories were perfect for long-form television. \u201cSo David and I went back and spent a whole week with him, this time with [Co-Executive Producer\/Writer] Richard Price,\u201d Pelecanos continues, \u201cand those conversations provided the basis for the entire series. Not long after we met, [the bar owner] passed away.\u201d<\/p>\n

\""The<\/p>\n

Recreating a lost world of pimps, prostitutes, vice cops, mobsters, and sex shop proprietors who populated 42nd\u00a0St., circa 1971, started with a few core visual collaborators: Director\/Executive Producer Michelle MacLaren [ICG Magazine,\u00a0Breaking Bad,\u00a02013], Production Designer Beth Mickle and Pilot DP Pepe Avila del Pino, whose work from the HBO\/Cinemax series\u00a0Quarry\u00a0MacLaren had seen in rough-cut form (provided by\u00a0Quarry\u00a0director Greg Yaitanes).<\/p>\n

\u201cWhen I came on, David and George had two scripts written, and they had James Franco [who plays real-life twin brothers from Brooklyn in the show],\u201d MacLaren remembers. \u201cI put together a visual presentation for David and George that included period photos of pimps and prostitutes on the street \u2013 just real people living their lives. That reference material, with additional contributions from Beth, Pepe, and our costume designer, Anna Terrazas, inspired the look of the show.\u201d<\/p>\n

MacLaren also watched a lot of classic 1970\u2019s films \u2013\u00a0Mean Streets, Taxi Driver, Panic in Needle Park, The French Connection, and\u00a0Shaft\u00a0among them. She says herself, Mickle and Avila del Pino spent time \u201cwalking the streets of New York City to wrap our heads around how this could be done,\u201d given how much new greenery had come in when Bloomberg was mayor. \u201cEventually we decided to use three blocks way up in Washington Heights, where, from a certain height down, Beth and her amazing art department could dress it perfectly for 1971, and anything above that would be CG.\u201d<\/p>\n

Mickle elaborates on the extensive location search: \u201cWe discussed building our 42nd Street stretch as a backlot, but we would have lost the movement and the textures in the distance. Our pilot location manager, Pat Sones, and I scouted over 30 exterior street locations throughout every borough of New York City, and eventually a stretch on Amsterdam Avenue became the best base for our Times Square world.\u201d<\/p>\n

In fact, just a few blocks had to account for four locations \u2013 42nd\u00a0Street, Seventh and Eighth Avenues, and Times Square. Period cars and traffic had to be altered to replicate one- or two-way streets. \u201cEvery location on the pilot was practical except for one hotel room, and that presented many challenges, space-wise,\u201d MacLaren adds.<\/p>\n

\u201cThe scene where Darlene [Dominique Fishback] is attacked by a john in the hallway and forced inside her room is a good example, because that room was so small we could barely get in a camera,\u201d she continues. \u201cPepe was a great choice, because I needed a cinematographer who was bold enough to light with a single light bulb. I told him that metaphorically, of course, but in some scenes, he really did!\u201d<\/p>\n

\"photo<\/p>\n

Avila del Pino, who shot on ARRI ALEXA in HD resolution,\u00a0using older Panavision Primo and PVintage prime lenses, says he used a combination approach to achieve a look that appears remarkably close to 1970\u2019s film stocks.<\/p>\n

\u201cRodrigo Prieto had recommended a software called Light Grain, which was new at the time we shot the pilot [in 2015],\u201d he explains. \u201cCoupled with Beth\u2019s production design, which was fearless in approximating period looks, and a lot of practical lighting \u2013 aided by my gaffer, Steve Ramsey \u2013 we were able to get those crushed blacks and textures that were not exactly like a 1970\u2019s movie, but close.\u201d<\/p>\n

Using long lenses also helped. \u201cIt\u2019s something I noticed they did a lot in\u00a0Midnight Cowboy,\u201d Avila del Pino adds. \u201cA long lens collapses the avenues and streets and brings the whole city into your characters without making a postcard behind them. On a more practical level, recreating 1971 New York City is almost impossible given there\u2019s a Starbucks on every corner, and long lenses, especially at night, helped. We\u2019d put neon lights down frame and out of focus, and that would create this feeling you\u2019re in the middle of 42nd\u00a0Street in that time.\u201d<\/p>\n

Another challenge was how best to replicate light spill from the large bright theater marquees (advertising cheaply produced sex films) under which the prostitutes and their pimps walked each night. \u201cWe rigged LiteMats on the fire escapes all over the street to simulate the marquee light,\u201d Avila del Pino recounts.\u00a0MacLaren notes, \u201cWe couldn\u2019t afford to build marquees, nor could the buildings hold the weight. So, Pepe built the underneath of one practical marquee, and then everything above that is CG. He used light boxes where the other marquees would be comped in by VFX so we would have interactive light on the actors. I was really happy with the results.\u201d<\/p>\n

Making bold choices, as MacLaren describes about Avila del Pino, and later with series DP (episodes 2-8) Vanja\u00a0\u010cernjul, ASC, HFS, is exemplified in a funny and tender scene between Maggie Gyllenhaal\u2019s character, Eileen \u201cCandy\u201d Merrell, and a teenager on his birthday.\u00a0Avila del Pino says his approach to lighting the pilot was \u201ceverything would appear to be coming from a single practical source \u2013 an overhead fluorescent or a light by the bed,\u201d as in the scene with Maggie and the teen in the SRO.<\/p>\n

\u201cThe clashing color temperatures \u2013\u00a0cool green\/cyan fluorescent over the sink where Maggie does her lipstick, and the warm tungsten practical where the kid sits on the bed \u2013 is a little unsettling,\u201d he continues. \u201cBut it speaks to the split dynamic going on with the characters [where Candy ultimately agrees to take a personal check from the boy so he can extend his first-ever sexual encounter].\u201d<\/p>\n

The \u201cfearlessness\u201d that Avila del Pino attributes to production designer Mickle is on display in the scene as well. \u201cBeth was unafraid to leave a big, single-color wall behind a character because that\u2019s how movies of that time [in urban New York City] looked. I think another production designer might have been tempted to over-paint, or over-dress those locations, but Beth, Michelle and I were totally in sync.\u201d<\/p>\n

For her part, Mickle took color and lighting inspiration from street photography of the late 1960\u2019s and early 1970\u2019s, as well as Martin Scorsese\u2019s early films. \u201cWe worked with an array of colored lighting for the street scenes,\u201d she recalls.\u00a0\u201cThe golden glow of the marquee bulbs, hits of red and blue neon signage, and pops of vivid yellow in backlit signage, which created a rich backdrop for our night scenes.\u201d<\/p>\n

Achieving visuals with \u201ca rich and almost documentary quality,\u201d as Mickle describes, was key to the show\u2019s look. The designer says that using as many practical locations as possible provided a textured, worn-in patina to every backdrop. \u201cAuthenticity was everything,\u201d she states.<\/p>\n

Pelecanos concurs, noting that because Simon was a journalist,\u00a0\u201cand my novels are all urban reportage,\u201d they \u201clived in fear\u201d of getting even the tiniest of period details wrong. \u201cWe had consultants for each aspect of the show,\u201d he adds. \u201cFormer porn actors, police, feminists, et cetera, to keep us honest. And, of course, that [approach to period details] extended to the visual aspects of the series. We told [the DP\u2019s] that we wanted this series to look like a film shot in the 1970\u2019s that someone just pulled out of a vault.\u201d<\/p>\n

\"photo<\/p>\n

While Avila del Pino\u2019s pilot made extensive use of Light Grain, and\u00a0a 1970\u2019s Fuji film LUT\u00a0\u00a0\u2013 created by pilot\/series DI colorist Sam Daley at Technicolor \u2013\u00a0\u010cernjul says he made adjustments about halfway through the series, \u201cwhen HBO asked us to deliver in both SDR and HDR,\u201d he recalls. \u201cThat was a bit challenging, altering look-up tables on the fly. But the key was to preserve the 1970\u2019s look and keep the same feel in both color spaces while also trying to take advantage of the extended latitude of HDR.\u201d<\/p>\n

\u010cernjul tested lenses to replace the PVintage primes, but found nothing as good to approximate the period look. He did sell the producers on moving over to Panasonic\u2019s VariCam 35, given the larger number of street locations needed throughout the series and the desire to use as much available light as possible.<\/p>\n

\u201cI wanted to get as much of New York as we could for free,\u201d\u00a0\u010cernjul laughs. \u201cAnd the VariCam\u2019s dual native ISO feature helped.\u201d\u00a0\u010cernjul, whose credits include\u00a0Marco Polo\u00a0and\u00a0Orange Is the New\u00a0Black, says his biggest challenge was \u201call the neon lighting that dominated 42nd\u00a0Street at that time,\u201d and trying to preserve the highlights. \u201cWe came up with different solutions for different signs \u2013 some windows had hard gels, other times we built housings for the signs that allowed us to use hard gels. Sometimes we painted them. But overall, controlling all the neon light required a lot of preparation.\u201d<\/p>\n

Visual continuity in\u00a0The Deuce\u00a0also required a lot of planning, and that was built into the show\u2019s superb writing; both cinematographers (guided by MacLaren) relished the chance for a visual conversation between the first and last episodes.<\/p>\n

\u201cThe ending montage was the first thing I talked about with Michelle when prepping Episode 8,\u201d reflects\u00a0\u010cernjul about a complicated series of moving camera shots and well planned transitions that end the season. The different looks, which define the fate of each character, close on Bernice (Andrea-Rachel Parker) in a higher-end sex parlor, an innocent now turned to prostitution. She enters a room and closes the door, leaving an empty hallway burning bright with practical lights. In the words of MacLaren, \u201ca lot of time has passed, but nothing has really changed save for the geography.\u201d<\/p>\n

That gorgeous hallway shot is a bookend to the final scene of the pilot, where the loquacious and seemingly pleasant pimp, C.C. (Gary Carr) cuts one of his ladies in a stairwell in the SRO where Vince has just decamped (after leaving his wife). Vince sees the violence through a small window in the door to the stairwell and then returns to his room, hesitating before going in as C.C. walks by and nods.<\/p>\n

\u201cVincent is conflicted about going to help Melissa,\u201d MacLaren explains, \u201cand ultimately he just goes into his room and does nothing, leaving behind an empty hallway. When I saw the script for Episode 8, I realized that George and David, in all their brilliance, had set up the [final shot of the] montage in relation to the end of the pilot.\u201d<\/p>\n

\u201cThat hallway was almost all lit practically,\u201d Avila del Pino says. \u201cIt was dark, bleak and unpolished, which was important because the scene breaks with what\u2019s come before, and we see, for the first time, the dangerous stakes of life on 42nd\u00a0Street.\u201d<\/p>\n

\u010cernjul notes that the hallway shot that ends the series was one of two in Episode 8 meant to visually recall the time and place where the character arc and the story began. \u201cJust like the shot of Vincent coming back to the billiard bar to confront the man who humiliated him in the pilot, the goal [with the hallway] was to repeat the same camera work but change the atmosphere through lighting and color.\u201d
\n<\/span><\/span><\/p>\n

\"photo<\/p>\n

Key locations throughout the series revolve around the more\u00a0anchored brother (relatively speaking), Vincent, as he turns a Korean restaurant into a hot nightspot and parlays that (with the help of a local mobster) into his own bar.<\/p>\n

\u201cVincent\u2019s bar was one of the few on stage,\u201d\u00a0\u010cernjul recalls, \u201cand we built it with low, hard ceilings to force us to work as if we were on location. That meant we couldn\u2019t light from above and had to find other ways, like LED light strips strategically placed [by series gaffer John Oates] that played well with the light-sensitive VariCam.\u201d<\/p>\n

One of the prime evolutions in\u00a0The Deuce is the arrival of the porn industry and Candy moving off the street to act in and later direct pornography. Episode 2, directed by Ernest Dickerson, ASC, shows her first acting job in a humorous and prescient scene (Candy asks questions about lighting and blocking from a guy with a handheld home movie camera). \u201cWe considered shooting Super 8, but it just wasn\u2019t practical at that point,\u201d\u00a0\u010cernjul notes. \u201cBut we did light the sets in frame with period sources \u2013 open photo flood lights in the case of that first film. As the series goes on, the [porn] industry becomes more sophisticated, and the lighting we see in frame reflects that.\u201d<\/p>\n

Super 8 was used in a later episode directed by James Franco, because as \u010cernjul describes: \u201cAt that point in the story, we were supposed to see the actual product of the porn industry projected in theaters and booths, and using anything other than Super 8 would have felt like cheating.\u201d<\/p>\n

\u010cernjul says his prime mantra was to \u201crespect the visual logic and reality of this world\u201d and not try to beautify the lighting. He points to a photograph he saw in the art department as inspiration.\u00a0\u201cIt was a woman under a streetlight \u2013 a not-so-flattering green sodium vapor look \u2013 and in the background was bright neon. That single image helped me to understand that the goal was to enhance the natural color contrasts of the [N.Y.C.] locations, and\/or work with the art department to bring it in where it didn\u2019t exist.\u201d<\/p>\n

Avila del Pino says that reflections, and frames within frames, were other key motifs in the pilot. \u201cThe first time we see Vincent and Frankie together in frame [both played by Franco] is a tracking move that we shot twice, using a double as we see Frankie\u2019s reflection in the bar mirror [in the House of Korea, which Vince manages].<\/p>\n

\u201cWhen Candy goes back to her parents\u2019 home in the suburbs,\u201d he adds, \u201cwe see her through the doorway, with her son, in her childhood bedroom. My reference there was\u00a0In the Mood for Love. These characters are all pretending to be someone on the street, but that gets stripped away when they\u2019re seen in intimate situations.\u201d<\/p>\n

MacLaren, who has two Emmys for\u00a0Breaking Bad\u00a0(and a r\u00e9sum\u00e9 that includes\u00a0Game of Thrones, The Walking Dead,\u00a0and\u00a0The X-Files) says there are few closed doors in series television anymore.<\/p>\n

\u201cDirectors and cinematographers are given such a broad visual palette to play with,\u201d she concludes. \u201cDon\u2019t get me wrong: there\u2019s never enough time and money, in any medium we work in. But it\u2019s a really exciting time right now, as we\u2019re being encouraged by [showrunners], networks and studios to make television more cinematic than ever before. I don\u2019t tell Pepe or Vanja when to use an 8K or where to put neon, but I can, as a cinematically-inclined director, tell them what the frame should feel like, and trust them, as my\u00a0creative partners, to help bring that to fruition.\u201d<\/p>\n

 <\/p>\n

By David Geffner<\/em><\/p>\n

photo by Paul Schiraldi\/HBO<\/em><\/p>\n

 <\/p>\n

CREW LIST<\/strong><\/p>\n

PILOT<\/p>\n

Director of Photography
\nPepe Avila del Pino<\/p>\n

A-Camera Operator\/Steadicam
\nAndy Voegeli<\/p>\n

A-Camera 1st AC
\nBobby Mancuso<\/p>\n

A-Camera 2nd AC
\nSuren Karapetyan<\/p>\n

B-Camera Operator
\nJohn Pirozzi<\/p>\n

B-Camera 1st AC
\nAlan Wolfe<\/p>\n

B-Camera 2nd AC
\nManny Smith<\/p>\n

Loader
\nYves Wilson
\nElmer Vargas<\/p>\n

Movi Tech
\nDaniel Sheats<\/p>\n

Still Photographer
\nPaul Schiraldi<\/p>\n

 <\/p>\n

SERIES<\/p>\n

Director of Photography
\nVanja \u010cernjul, ASC, HFS<\/p>\n

A-Camera Operator
\nOliver Cary<\/p>\n

A-Camera 1st AC
\nBradley Grant<\/p>\n

A-Camera 2nd AC
\nSuren Karapetyan<\/p>\n

B-Camera Operator\/Steadicam
\nJeff Dutemple<\/p>\n

B-Camera 1st AC
\nGreg Finkel<\/p>\n

B-Camera 2nd AC
\nEmma Rees-Scanlon<\/p>\n

Loader
\nCarrie Wills
\nRob Muia<\/p>\n

DIT
\nChad Oliver<\/p>\n

Still Photographer
\nPaul Schiraldi<\/p>\n","protected":false},"excerpt":{"rendered":"

The creators of\u00a0The Wire\u00a0and\u00a0Treme\u00a0return to television for this gritty look at the origins of the porn industry \u2013 and a long-vanished world on New York City\u2019s 42nd\u00a0St. Standing in Times Square in 2017, watching moms and dads\u00a0with strollers and international tourists cue up for the latest Disney musical, it\u2019s hard to imagine the beating heart of America\u2019s most visited city was once a gritty paradise of drug dealers, peep shows, porn films and SRO\u2019s catering to the many sex workers […]<\/p>\n","protected":false},"author":1,"featured_media":7269,"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":[463,461,365,37,40,464,460,462],"class_list":["post-7268","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-avila-del-pino","tag-david-simon","tag-hbo","tag-icg-magazine","tag-local-600","tag-paul-schiraldi-photography","tag-the-deuce","tag-vanja-cernjul"],"acf":[],"yoast_head":"\nDeep Cover - 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