{"id":901,"date":"2010-08-11T14:32:57","date_gmt":"2010-08-11T22:32:57","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=901"},"modified":"2014-05-29T22:09:09","modified_gmt":"2014-05-29T22:09:09","slug":"local-knowledge","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/local-knowledge\/","title":{"rendered":"Local Knowledge"},"content":{"rendered":"

The real Manhattan shines through in the summer rom-com The Switch<\/em><\/strong><\/p>\n

\u201cManhattan on a budget\u201d sounds like an oxymoron, but with movie studios wary of the gap between ballooning costs and box-office returns, it\u2019s a mantra Union productions must embrace if they want to shoot on the streets of the Big Apple. A prime example is The Switch<\/em>, Miramax\u2019s adaptation of Baster, a short story originally published in The New Yorker by celebrated novelist Jeffrey Eugenides (The Virgin Suicides<\/em>). The romantic comedy stars Jennifer Aniston and Jason Bateman, and was directed by the team of Will Speck and Josh Gordon, the duo behind Will Ferrell\u2019s ice-skating comedy, Blades of Glory<\/em>.<\/p>\n

\u201cWe wanted to show what we call \u2018New York B-side,\u2019\u201d Gordon relates of the philosophy he and Speck adopted for The Switch<\/em>. Their approach, which emphasized Manhattan\u2019s low-key public spaces over tourist-friendly landmarks, helped to ground a story that\u2019s less about escapism than the real world trade-offs faced by Gen Xer\u2019s approaching 40. \u201cIt\u2019s the New York that New Yorkers experience,\u201d Gordon adds. \u201cJust as beautiful, but it doesn\u2019t always get shown (in films). Most movies just shoot the same five monuments.\u201d<\/p>\n

Spanning seven years in the romantically tense friendship between two city professionals, The Switch<\/em> pivots around one fateful night when Aniston\u2019s desperate-to-be-pregnant Kassie commits to an at-home insemination (courtesy of a paid donor), a procedure Bateman\u2019s lovesick Wally drunkenly undertakes to foil in unique fashion. As the plot suggests, The Switch<\/em> earns its \u201cromantic dramedy\u201d stripes by weaving between emotional exchanges and tension-breaking comedy, something Gordon insisted be reflected in the film\u2019s lighting scheme.<\/p>\n

\u201cThe movie rides the line between comedy and drama, but visually (speaking) movies tend to get put into one category or the other,\u201d the filmmaker continues. \u201cSomebody just decides that they\u2019re going to light a film as a comedy, and that it\u2019s going to be bright and happy and there will be no ambiguity, and color will be pumped in so the audience knows it\u2019s okay to laugh right out of the gate.<\/p>\n

\"\"<\/p>\n

\u201cWhat was interesting to us about this<\/em> script is that it often switches, even sometimes within a scene. There will be a big laugh and then it cuts to something more poignant and emotional, and then sometimes it returns to a laugh again; so it was important to us to create a visual style that allowed for both of those emotions to play.\u201d<\/p>\n

To balance that dichotomy, Gordon and Speck turned to U.K. cinematographer Jess Hall, BSC, whose work on Edgar Wright\u2019s much-loved Hot Fuzz<\/em>, and Grindhouse<\/em> trailer Don\u2019t<\/em> skillfully layered comedy onto a foundation of action and horror, respectively. Hall also shot the 2007 Sundance hit, Son of Rambow<\/em>, a charming 1980\u2019s period film that featured extensive use of home video recreations. Coupled with his experience handling quick and innovative commercial shoots, Hall was an ideal fit for a tonal parfait like The Switch<\/em>. As he recounts, his \u201cBritishness\u201d worked well in his favor in getting the job.<\/p>\n

\u201cJosh and Will wanted to see New York in a different way, and I think that\u2019s partly why they wanted me \u2013 a British cinematographer who has a slightly different eye on the city, rather than having grown up with it and taken it for granted,\u201d Hall observes. \u201cNew York still makes me go \u2018wow.\u2019 I walk out of my apartment and there\u2019s the Chrysler building looking straight at me. Moments like that still have an impact.\u201d<\/p>\n

Asphalt Jungle<\/strong><\/p>\n

Shot in 42 days, on 65 locations (partially in Manhattan\u2019s Tribeca neighborhood), The Switch<\/em> was a studio project that more often resembled a guerilla indie. The slim-in-number, but hardworking crew battled time and budget constraints, regularly improvising in the face of the city\u2019s sheer unpredictability.<\/p>\n

Gordon, in fact, says the crew\u2019s immersion in a chaotic shooting environment had a positive impact on the end product. \u201cA lot of romantic comedies have a look that\u2019s confectionary and produced,\u201d he notes. \u201cWe wanted a reality-based version of this film, and we looked to 1980s movies like The King of Comedy<\/em> and Tootsie<\/em> – movies made in New York back when New York was really<\/em> difficult to control – and there\u2019s an energy that seeps in and you don\u2019t want to totally cut that out.\u201d<\/p>\n

One force of nature the crew had to contend with was an army of paparazzi and lookie-loos trying to catch a glimpse of gossip mag perennial Jennifer Aniston. \u201cShe\u2019s a hero in New York, and we couldn\u2019t have her standing around on the street,\u201d Hall says. \u201cWe had to be efficient at getting her in and out of locations, and we had to be well-organized in terms of what we were going to shoot and when.\u201d<\/p>\n

\"\"<\/p>\n

Second AD Jennifer Truelove and A-camera 1st AC Frank Rinato were two Switch<\/em> crewmembers who had to learn to accept the outside presence, with Rinato labeling the paparazzi as \u201cquite aggressive at times,\u201d and Truelove recalling the nights she waded through 40 or so shutterbugs just to reach hair and makeup trailers. \u201cThe paparazzi would bring their own stepstools so that they could go vertical and create a wall of people on either side of the trailers,\u201d Truelove remembers.<\/p>\n

She cites a nighttime walk-and-talk scene on East 53rd St. with a Steadicam and a Western Dolly as an example of keeping the crowds at bay while the actors performed. \u201cThe challenge was in making Manhattan look<\/em> like Manhattan,\u201d Truelove states, \u201cand that meant setting some decent background action and making sure no one was staring at our camera. But if you had an overhead shot during that sequence you\u2019d see that we were keeping control of the north side of the street by corralling about 200 people on the south side.\u201d<\/p>\n

Once shooting was ready to commence, Hall utilized ARRICAM ST and ARRICAM LT 35 mm camera systems, Cooke S4 lenses, and some Steadicam – a package that emphasized portability for the quick setups required by numerous walk-and-talks and unpredictable shadows brought on by the extreme height of Manhattan buildings.<\/p>\n

\u201cThe light changes quite rapidly, and you get these very deep canyons where sunlight can penetrate briefly, and a lot of glass as well, which bounces and creates all sorts of refractions,\u201d Hall explains. \u201cOne scene which I thought was very difficult was the end with Jennifer, where we shot on Park Ave. outside the Waldorf Astoria. It was two-and-a-half pages of dialogue, and the light was changing constantly in that canyon because it\u2019s very deep and the sun was coming through. Controlling that and keeping consistent, complimentary light was a challenge.\u201d<\/p>\n

Star Light<\/strong><\/p>\n

Creating a successful lighting plan for Aniston was critical, as her attractiveness as a romantic lead is the film\u2019s raison d\u2019etre. \u201cI devised a scheme of lighting that involved large spans of very soft light,\u201d Hall recounts. \u201cIt became a joke between key grip Richard Guinness and me because I would walk into a location and say \u201816 feet of soft light, or 40 feet of soft light!\u2019 I would cram the largest frame that I could get into any location starting from the camera lens and wrapping around Jennifer. It would often be bounced first and then coming through a second layer of diffusion.\u201d<\/p>\n

\"\"<\/p>\n

Hall also used Lighttools Soft Egg Crates to prevent light from flooding onto the background and walls, and he\u2019d count on Guinness and his team to further tease the light off the backgrounds. \u201cI would often use black silks for this to grade the falloff very smoothly,\u201d he adds. \u201cThere would usually be something else extremely soft over the lens.\u201d<\/p>\n

Rinato says using a remote focus control system throughout was useful. \u201cI know it\u2019s a matter of personal preference for focus pullers, but I personally feel it\u2019s an advantage to use a remote because it gives you options,\u201d the AC explains. \u201cI generally like to be close to the camera so I can be in close contact with the operator, but with the remote I have the option to step away at times to see around obstructions if needed.\u201d<\/p>\n

When it came to visualizing a key transition where the story leaps forward seven years, a decision was made to largely forego noticeable aging makeup on Aniston. \u201cWe didn\u2019t want there to be a sudden, massive difference,\u201d Hall says. \u201cJosh and Will made that decision. It was something they were quite specific about, in terms of how much they wanted the makeup and appearance of the actors to change.\u201d<\/p>\n

Gordon adds that Aniston, a seasoned pro of romantic comedies, was helpful and collaborative with the lighting crew throughout her scenes. \u201c(Jennifer\u2019s) pretty trusting and surprisingly easy-going for a star of her caliber,\u201d he says. \u201cShe understands how production needs to work and she\u2019s selfless in that way. Obviously, she\u2019s a movie star, so there are ways you have to light her, but Jess was really good with that.\u201d<\/p>\n

Practical Magic<\/strong><\/p>\n

Taking advantage of Manhattan\u2019s \u201cB-side\u201d practical locations meant having less than full control on many shooting days, such as with an intimate scene set inside The Central Park Zoo\u2019s penguin house. Pre-rigging the habitat was not allowed, and filming could only be accomplished in accordance with the facility\u2019s strict guidelines on lighting and shoot durations, lest a boisterous crew disturb the routine of the sensitive birds.<\/p>\n

\u201cThere were all these rules about how much light you can put in there because they\u2019re spawning or whatever,\u201d Gordon recalls. \u201cYou have four hours to shoot in that habitat a day. You\u2019d show up early in the morning when the lights are off and the animals are in their nocturnal mode, and as you\u2019re setting up the scene, the lights come on and you realize there are 300 penguins just staring at you.\u201d<\/p>\n

\"\"<\/p>\n

Even trickier were filming sequences on the New York subway, for which location manager Ronnie Kupferwasser and other crew had to convince the city to decommission an S train out of Grand Central Station and allow the crew to run shuttles between stations after 7 p.m.<\/p>\n

\u201cThe only way we could get access was to shoot at night, so it added to what was already a lot of night work,\u201d Hall says. \u201cWe had a couple of hours to shoot and augment the lighting marginally, but for all intents and purposes it was a practical working location.\u201d<\/p>\n

The DP says his most challenging location was The Apple Store in the meatpacking district, which is the setting for a shot that sees Aniston and Bateman walking into the store from the street and having a conversation while ascending the glass staircase.<\/p>\n

\u201cWe wanted to put a TechnoCrane in there and do it in one shot, but the location wouldn\u2019t allow it,\u201d Hall recalls. \u201cSo, we broke it down into three parts \u2013 two Steadicam shots and a dolly shot with a large jib done off a raised rostrum. Dealing with the reflections was a real challenge; you\u2019d put up a light and see it in five panels of glass simultaneously! I lit it using four helium balloons and an additional light coming in from the exterior through the windows.\u201d<\/p>\n

Hall adds that whenever possible, he followed his directors\u2019 mandate to include \u201csome darkness and contrast in the lighting\u201d that enhanced the story\u2019s subversive elements.<\/p>\n

\u201cWe were interested in moving the camera to accommodate long takes, which is great for performance, and using the camera to signify the inner lives of these characters,\u201d Hall concludes. \u201cAnd we wanted to see New York in the frame, wherever possible, so we were constantly shooting straight into glass on our interiors so we could see the city beyond. We wanted the city to become a character.\u201d<\/p>\n

Capturing Manhattan\u2019s visual splendor is a tall order for a production of any size, but Gordon expresses satisfaction with what his team accomplished. \u201cThere are always shots you dreamed of that you can\u2019t get,\u201d he muses. \u201cAt one point we wanted to get all the way across the street, like five buildings down, and shoot \u2013 off the side of a building \u2013 Jason\u2019s character staring out of a window at magic hour. You have shots that you fight for, and then you have to lose. But overall, we were really happy at this budget level to both shoot the whole movie in New York, and get New York into the movie in unexpected ways.\u201d<\/p>\n

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

Dir. of Photography:<\/strong> Jess Hall
\nOperator:<\/strong> Craig Haagensen
\nAssistants:<\/strong> Frank Rinato, David Flanigan, Scott Lipkowitz
\nFilm Loader:<\/strong> Kevin\u2008Walter
\nSteadicam Operator:<\/strong> Jim McConkey
\nTechnocrane Operator:<\/strong> Craig Striano
\nStill Photographer: <\/strong>Macall Polay
\nPublicist:<\/strong> Amy Johnson<\/p>\n

By Ryan Stewart \/ photos by Macall Polay<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The real Manhattan shines through in the summer rom-com The Switch<\/p>\n","protected":false},"author":1,"featured_media":3576,"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":[37,55,158],"class_list":["post-901","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg-magazine","tag-jess-hall","tag-the-switch-cinematography"],"acf":[],"yoast_head":"\nLocal Knowledge - 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\/local-knowledge\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Local Knowledge - 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