{"id":968,"date":"2010-09-16T14:43:07","date_gmt":"2010-09-16T22:43:07","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=968"},"modified":"2014-05-29T22:02:16","modified_gmt":"2014-05-29T22:02:16","slug":"the-deep-end","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/the-deep-end\/","title":{"rendered":"The Deep End"},"content":{"rendered":"

Mott Hupfel wades into the ever-shifting waters of love and friendship for Philip Seymour Hoffman\u2019s indie drama Jack Goes Boating<\/em><\/strong> <\/p>\n

For those of us who feel like we\u2019re drowning in our life (or lack of one thereof), the main character\u2019s journey in Jack Goes Boating<\/em> can be both inspiring and frightening. Questions like \u201cIs this me?\u201d or \u201cWould I have the courage?\u201d flash across the brain as we watch Jack (Philip Seymour Hoffman) meet, fall for and then change his life for Connie (Amy Ryan), his true love. Writer Bob Glaudini, first on stage and then again in his own adapted screenplay, created a small yet perfect metaphor for Jack\u2019s struggle \u2013 overcoming his fear of water so that he can take his beloved Connie for a boat ride. On stage, exploring Jack\u2019s rigorous training to overcome his fear (of the water at least) was a metaphysical ride, conjured by script and cast; one man sitting on the edge of the stage with a blue water effect was about all that could be accomplished. But, oh what Hoffman (who also directed the film) did with a real swimming pool and no proscenium.<\/p>\n

\"\"<\/p>\n

Determined to keep the film in New York, which inevitably becomes a character in any set-in-New York story, Hoffman turned to cinematographer Mott Hupfel III, whom he met when co-starring in Tamara Jenkins\u2019 indie hit, The Savages<\/em>. The two men built an intense partnership that conquers the stigma often associated with the stage-to-screen interpretation.<\/p>\n

\u201cAnd we did it on film!\u201d says Hupfel, who lobbied heavily for shooting on Kodak 5205 and 5218 stocks, not only because it would still provide a DI finish, but more, as he and Hoffman agreed, \u201cthe story screamed film.\u201d Of course, even with the tax credits in place, Jack Goes Boating<\/em> was still done on a modest budget, which Hupfel worked hard to get the most out of.<\/p>\n

\u201cThe issues that I feel most directly impact this kind of production are those of crew and equipment,\u201d Hupfel shares. \u201cThere are less crew people in New York City that own equipment. Therefore, it\u2019s hard for anyone to do a low-budget movie; when you get paid a lower fee a week and you can\u2019t add equipment charges to boost that up, finding experienced crews is a challenge.\u201d<\/p>\n

\"\"<\/p>\n

Having said that, Hupfel is quick to add that he was able to land an experienced Union crew, including key grip Kurt Rimmel, 1st AC Dan Hersey, and, in his words, \u201can extremely over-qualified operator\u201d in Craig Haagensen. \u201cOnce you get past the crew issue, the budget impacts everything else in smaller ways,\u201d Hupfel relates. \u201cThe fact that the production team involved Phil and I in the whole process allowed us to chime in on those decisions and be aware of real numbers, putting the dollars where they would best serve the project.\u201d<\/p>\n

Hupfel says that being involved in the intensive rehearsal process was a big advantage. \u201cThe rehearsals made the blocking and shot listing transparent to me and the actors,\u201d he explains. \u201cThe experience of going out on a limb to suggest something that would enhance a feeling you have about the script or a character, and then have that feeling acted on is exhilarating and opens the doors to more creativity.\u201d<\/p>\n

Jack Goes Boating<\/em> is a character piece. It\u2019s centered on a limo driver\u2019s blind date, which sparks machinations of love, friendship, betrayal and ultimately grace to a pair of working class New York couples. In moving from stage to screen, Hoffman and Hupfel were careful not to overdo the changes. They took full advantage of shooting in New York, opened the swimming scenes into a fantasy world in a beautiful public pool, and of course ended the story at the Central Park Boat Pond. But they also kept fairly close to the stage style, maintaining the long dialog sequences in small New York apartments.<\/p>\n

Hupfel says he loves shooting on New York City street locations more than anywhere else. \u201cBut they can be expensive,\u201d he adds. \u201cSo you have to choose carefully. And, there is always the challenge you face with the weather \u2013 and we needed winter in New York to tell this story.<\/p>\n

\u201cOur night exteriors used ambient light from the street as a base and then a comparatively small amount of lighting for enhancement,\u201d he continues. \u201cI try to make my New York streets look as real as possible because you can\u2019t make them look better than they already are!\u201d<\/p>\n

\"\"<\/p>\n

Not everything, however, was shot on New York\u2019s streets or buildings – a certain number of days on a studio stage were required in order to take advantage of N.Y.C. tax breaks. That\u2019s why Hoffman and team chose to build the apartment where most of the emotional clashes take place, as a railroad flat, with one caveat: the walls would be wild.<\/p>\n

\u201cI could remove any combo of walls or rooms, as well as the medicine cabinet and shower,\u201d Hupfel explains. \u201cIn order to avoid the stage version\u2019s theatricality, we used the railroad apartment in a more realistic way by having the characters use all of the rooms. In the most complicated sequences, Kurt (Rimmel) would remove all of the walls on one side of the apartment and the camera would follow people, seemingly \u2018through\u2019 the walls.\u201d<\/p>\n

The DP says much effort was taken to make Jack\u2019s apartment seem real, both in size and design, yet still free the blocking from any semblance of a theatrical proscenium. \u201cThe lighting was a pared down version of TV lighting with softer units coming over the top of the walls and many practicals,\u201d Hupfel states. \u201cIt was important to all of us that the light not affect the actors\u2019 choices in any way, so things had to stay pretty general.\u00a0 I knew I could spend time in the DI \u2018shaping\u2019 the light and doing some of the gripping that we were unable to do on the set.\u201d<\/p>\n

\"\"<\/p>\n

Of course, the water sequences inevitably shine the brightest in Jack Goes Boating<\/em>. Hoffman\u2019s idea was to create an idyllic and slightly fantastical location where Jack\u2019s fears play out both above and under the water. \u201cThe cinematography, here, is basic in terms of lighting or gear, but there\u2019s a great amount of creativity going on (story-wise),\u201d Hupfel recounts. \u201cAt times, in the pool, we see what Jack is visualizing, which includes his imaginary actions. Seeing these things that Phil had in his head on the screen was an idea I floated early in our discussions. I\u2019m proud of the way they came together and enhanced the story.\u201d<\/p>\n

Hupfel points to the final pool scene, intercut with Jack and Connie in the park, as an example of Hoffman\u2019s strong direction. \u201cI learned through (working with Phil in the pool scenes) and the rehearsals that you really have to let the characters create the film,\u201d Hupfel remarks.<\/p>\n

Operator David Knox was key in helping to realize the water shots. It took four days of shooting in a Harlem swimming pool and a variety of rigs to help play the story out.<\/p>\n

\"\"<\/p>\n

\u201cMy introduction to Phil, Mott and actor John Ortiz was walking in and seeing the three of them swimming around in the pool wearing colorful swimwear and goggles,\u201d Knox laughs. \u201cIt was quite a first impression.\u201d<\/p>\n

Hupfel and Knox initially talked about engineering an underwater remote control camera like the HydroFlex, but they opted instead for a standard Arriflex ST and lenses in a custom-built water box \u2013 \u201cbasically an inverted aquarium,\u201d Knox points out. \u201cA wooden exoskeleton protected the glass and made the rigging and handling easier. Video, focus power cables and the like were routed out the open top. It\u2019s a great rig for working at the surface and just below, as it floats with the lens at water level.\u201dThe team did use the HydroFlex 435 deep water housing for subsurface shots. \u201cMott dreamed up one moving shot which required me to swim quickly backwards at the bottom of the 10-foot deep pool,\u201d Knox recalls. \u201cA combination of paddling with large scuba fins and a helpful tug from stuntman Chris Barnes\u2019 rope proved to be the solution.\u201cMost of the lighting came from poolside units pointing down into the water,\u201d he adds. \u201cWhen working below the surface, communication is essential, and rigging an underwater speaker lets the director and DP make suggestions (not the least is the timing of roll\/cut). As Phil was also in the water for most of the pool sequences, he trusted Mott to keep a sharp eye on the video and orchestrate most of the elements.\u201d<\/p>\n

Hupfel says that trust, which filtered down throughout his team, went a long way on a short and intense shooting schedule. \u201cCraig had the dubious pleasure of translating my crazy shot descriptions and making them into \u2018masters\u2019 that actually worked for the actors and Phil,\u201d Hupfel recounts. \u201cDan (Hersey) has been with me for over 15 years and his management and focus pulling saved me multiple times a day. (Key grip) Kurt Rimmel was great \u2013 the hardest job was building and tearing down that apartment set multiple times a day for two weeks. Every time we switched sides of the room the walls had to come down and the platform for the dolly had to be built.\u201d<\/p>\n

Jack Goes Boating<\/em> has been in the cultural waters for several years now – from script to hit off-Broadway play to screen adaptation and finally to its debut at Sundance this past January, where Overture Films was able to build some formidable buzz. As Glaudini\u2019s funny and tender story hits the big screen, audiences will no doubt find the universality in Jack, perhaps coming away with a new insight as to how best to keep their heads above water in life\u2019s never-ending series of swimming lessons.<\/p>\n

By Pauline Rogers \/ photos by KC Bailey<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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