{"id":9800,"date":"2020-04-14T11:00:21","date_gmt":"2020-04-14T18:00:21","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=9800"},"modified":"2021-05-29T20:18:06","modified_gmt":"2021-05-30T03:18:06","slug":"between-a-rock-and-a-hard-place","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/between-a-rock-and-a-hard-place\/","title":{"rendered":"Between a Rock and a Hard Place"},"content":{"rendered":"

Michael Alden Lloyd digs deep for indie gold in the new Lionsgate feature, The Quarry<\/em>.<\/span><\/p>\n

by Pauline Rogers \/\u00a0<\/span>Photos and Framegrabs Courtesy of Lionsgate<\/span><\/p>\n

 <\/p>\n

\n

\u201cIt\u2019s a classic setup \u2013 a stranger rolls into town, claiming to be someone he\u2019s not,\u201d explains Scott Teems, co-writer\/director of The Quarry (<\/em>available On Demand April 17, 2020)\u00a0which was set to premiere at this year\u2019s SXSW before the global COVID-19 pandemic forced organizers to cancel the event. Released by Lionsgate and Grindstone, The Quarry <\/em>is an adaptation of Damon Galgut\u2019s novel, \u201cwhich dealt with big ideas \u2013 racism, religion, murder, redemption. But, at its core, it was a story of a man on the run from his past, dealing with the darkness in his own life,\u201d Teems adds. Because stories of racial injustice are universal, Teems opted to tell the story in a more personal way, moving the setting from post-apartheid South Africa to 1980s West Texas.<\/p>\n

The prime challenge was to bring an intensely dramatic story to the screen on a Tier 1 budget. When Director of Photography Rodney Taylor, ASC (who had shot That Evening Sun<\/em> for Teems), introduced the filmmaker to Guild Director of Photography Michael Alden Lloyd, \u201cthe first thing Scott said to me was that we had to find a way to \u2018marry the epic with the intimate,\u2019\u201d Lloyd, a two-time Emerging Cinematographer Award honoree, recalls. \u201cI started thinking a lot about medium-format photography. It has that feel: intimate in that it puts you right there, and epic in the detail, the subject\/background relationship, and the way everything falls around the focus.\u201d<\/p>\n

\"\"<\/p>\n

Teems and Lloyd began to think of the film as a fable, with the characters fated together, existing in a suspended reality of almost homemade quality. \u201cIt didn\u2019t take us long to land on Roger Deakins [ASC, BSC] as a reference,\u201d Teems states. \u201cAnytime you\u2019re making a Texas noir<\/em>, you stand in the shadow of No Country for Old Men<\/em>. It\u2019s a perfect film. So that gave us a place to build from.\u201d But there is also a dream-like feeling to the movie, which brought them to study the use of flashbacks and memories lensed by Deakins in The Assassination of Jesse James by the Coward Robert Ford<\/em>. They added bits of Paris, Texas<\/em> and Three Colors: Blue<\/em>, compiling a solid visual reference book in preproduction.<\/p>\n

 <\/p>\n

\"\"
Director of Photography Michael Alden Lloyd was inspired by medium-format photography for The Quarry’<\/em>s unique look “It has that feel: intimate in that it puts you right there, and epic in the detail, the subject\/background relationship, and the way everything falls around the focus,” he describes.<\/figcaption><\/figure>\n

 <\/p>\n

Anamorphic 35 mm was Teems\u2019 first choice, but,<\/strong> as Lloyd recounts, \u201cit was a tough sell. Not because of the cost of the stock. We had to carry a relatively light grip and electric package. Even if we could get the gear, we weren\u2019t going to have the manpower to implement it, and our footprint had to be pretty small with all the location moves.\u201d Choice number two was the large-format Alexa 65. So Taylor put Lloyd in touch with ARRI International Marketing executive Dana Ross, and after reading the script, Ross brought in Kelli Bingham, an ARRI Business Development executive based in New Orleans, and the two made it happen.<\/p>\n

\u201cI chose a small selection of Prime DNA lenses [45, 60, 80, 110 millimeter],\u201d Lloyd explains. \u201cThey had the character we wanted. They\u2019re nice on the skin, resolve well at the stop I wanted to shoot, and have some interesting vignetting. This particular set was already detuned in a way we liked, too. I also carried a Zeiss Compact Zoom [100-280 millimeter] for all the old-school in-camera zooms we planned for specific beats in the design.\u201d<\/p>\n

Add up the variables \u2013\u00a0a low Tier 1 budget, locations outside New Orleans with a long drive from base camp, and a large-format capture system\u00a0\u2013 and Lloyd says the project offered an exciting challenge for the locally-based NOLA crew. This crew included Operator Louis Normandin, SOC, who says one of the most notable visual elements related to doing dolly moves with the large-format sensor \u201cis that the parallax of the foreground and background really connect, and the visual impact hits twice as hard. This plays so well, as Scott and Michael planned all the specific story beats.\u201d<\/p>\n

 <\/p>\n

\"\"
Operator Louis Normandin, SOC, says dolly moves with a large-format sensor really connect “the parallax of the foreground and background…the visual impact hits twice as hard.” Here the NOLA-based Guild crew tackles a challenging 9-minute “oner.”<\/figcaption><\/figure>\n

The Local 600 camera team\u2019s coordination was put to the test for a nine-minute \u201coner\u201d at the opening of the movie that starts in a wide shot from about 350 yards and takes the story up to a murder in the film\u2019s namesake location. Although no stranger to pulling focus on large format, 1st AC Ian Henderson admits, \u201cThis movie was a much bigger challenge. There would be no guesswork. When it\u2019s soft \u2013 it\u2019s undeniably soft. We did a lot of push-in and walk-ups. I ended up going off physical marks.\u201d He credits 1st AD Andrew Shepherd for giving him the time \u2013 and actor Shea Whigham\u2019s checking in before every shot. \u201cAnd our life-saving DIT, Tyler Blackwell,\u201d Henderson adds.<\/p>\n

Blackwell knew he would have a few extra challenges. In addition to a heavy workload and pipeline, he also had to function as loader, post supervisor, and dailies assistant, given the massive amounts of data generated. \u201cThankfully, high-density encoding [HDE] had just recently been released,\u201d Blackwell recalls. \u201cThis new process is an encoding technique optimized to take ARRIRAW files and reduce them to approximately 60 percent of their original size in a completely lossless manner. It made 140 terabytes doable and was exactly what the producers wanted to hear, as they had not budgeted for the down-the-line expenses associated with shooting large format.\u201d<\/p>\n

As for the NOLA-area locations doubling for West Texas, Lloyd, at first, was skeptical. \u201cI\u2019ve lived all over the South, and that area is rooted and rich in a much different way than West Texas. The weather is different, the way the diffusion in the sky is always moving and changing. But the Louisiana tax incentive was how we could stretch the budget.\u201d<\/p>\n

 <\/p>\n

\"\"
With no second unit to shoot additional establishing shots, Lloyd had to find a way to capture the whole town in a single frame. He says 1st AD Andrew Shepherd was key to maintaining a safe set, with railroad tracks running right through the small “hero town” of Garyville, a 90-minutes drive from their NOLA base.<\/figcaption><\/figure>\n

The movie’s main location was the slightly precarious-looking Garyville, outside of New Orleans. \u201cIt had the timeless charm we needed but would be a different take on West Texas,\u201d Lloyd admits. \u201cThe only problem \u2013 an hour and a half portal to portal, which meant losing a lot of time on the drive in.<\/p>\n

\u201cScott is very particular about spatial orientation,\u201d Lloyd continues. \u201cThere wasn\u2019t time, crew, or equipment for a second unit to shoot additional establishing shots, so I had to find a way to capture the whole town in a single frame. I had to visually connect all the dots \u2013 the church\u2019s relation to the parsonage, the police station to the church, and so on.\u201d<\/p>\n

Lloyd\u2019s approach was challenging for 1st AD Shepherd, who had to deter curious townies, place background and picture cars, and keep a sharp eye on safety as train tracks ran right through the middle of town. \u201cWe had to lock it down, all in just a few minutes because we were losing the light,\u201d Lloyd remembers. \u201cWe only had one shot at it, and we got it. There was even this beautiful flock of birds that flew into the frame in perfect formation. It took a nimble crew with the right attitude to pull that off.\u201d<\/p>\n

 <\/p>\n

\"\"
Teems describes the combination of the NOLA-area sets that Production Designer Erin Magill created in an empty warehouse, and Lloyd’s controlled camera, as “nearly perfect realizations of how those scenes were originally conceived.”<\/figcaption><\/figure>\n

 <\/p>\n

While Garyville became the story\u2019s fa\u00e7ade, The Quarry<\/em><\/strong>\u00a0opted for complementary interiors closer to New Orleans. Lloyd says they could not find the police station or jail cell anywhere, \u201cso we had to build them in an empty warehouse. Production designer Erin Magill made that happen with next to nothing.\u201d<\/p>\n

And director Teems was thrilled with the results. \u201cThey were nearly perfect realizations of how those scenes were originally conceived,\u201d Teems describes. \u201cMichael\u2019s rich photography and controlled camera perfectly captured Erin\u2019s detailed set.\u201d<\/p>\n

Lloyd says he, Teems and Magill walked those scenes together before the designer had to expend any of her budget building set walls. \u201cWe found a room inside the warehouse with a large-enough window that I could push big M90 sources through to do the heavy lifting,\u201d Lloyd adds. \u201cThen, I could just shape it with late breaks, muslin bounce, and negative fill as we moved around the chief\u2019s office on the dolly. Erin brought in this big rust-orange-colored blind that gave it such a unique feel. [See opening image above.] It felt lived in, with layers upon layers of life, like the chief\u2019s fishbowl. I love that level of detail.\u201d<\/p>\n

Another recurring visual theme is darkness, which Lloyd says Teems loves, \u201cbut dark doesn\u2019t necessarily mean not lighting when you\u2019re making a motion picture,\u201d he explains. \u201cActually, it\u2019s quite the contrary if you are doing it well. The darkness in The Quarry<\/em> says something, though. It\u2019s very intentional. The form, the body language in silhouette \u2013 it all has this visceral feeling.<\/p>\n

 <\/p>\n

\"\"
For one of Lloyd’s favorite shots involving burning elements melding (in a tiny practical bathroom), the camera was rigged overhead on a dolly with an offset. Key Grip Jay McCann kept safety uppermost for actor Shea Whigham, and SFX, who created the fire.<\/figcaption><\/figure>\n

\u201cYou see it a lot with Celia [played by Catalina Sandino Moreno],\u201d Lloyd continues. \u201cShe\u2019s trapped by circumstance. Pinned in, outside the parsonage at night within the vertical lines of the screened-in porch, inside in the narrow hallway and her bedroom, framing her within the mirror of her vanity. We used edge lighting with small LED units and covered wagons to augment practicals to light the environment. We then brought in some subtle cooler sources from the outside to give some color separation.\u201d<\/p>\n

Fire is also a big theme, as Lloyd describes: \u201cYour new life costs your old one. You have to burn it down to start over,\u201d he explains. \u201cOne of my favorites is when the wanted poster of The Man [Shea Whigham] and David Martin\u2019s [Bruno Bichir\u2019s] driver\u2019s license melt into each other. It communicates that The Man is assuming this new identity.\u201d<\/p>\n

Although Lloyd calls it a \u201csimple visual idea,\u201d it was extremely difficult to execute in the tiny practical location (a bathroom). \u201cWe rigged the camera overhead on the dolly with an offset,\u201d he reveals. \u201cMy key grip, Jay McCann, had to make it safe and as comfortable as possible for Shea, because it was a lot of weight over the top of his head. Then, SFX, the boom op, and dolly grip had to be in there as well and light a fire in the sink. It\u2019s a funny thing to see just how unglamorous making movies can be!\u201d<\/p>\n

 <\/p>\n

\"\"
The Alexa 65 format allowed Lloyd to shoot in intimate spaces without forcing the perspective. \u201cIt puts the viewer in the room,” he shares. “You can get close to faces without the distortion.” Like the scene above with Whigham’s character fully enclosed in a box, and lighting augmented by an LED rig created by Gaffer Keith Morgan.<\/figcaption><\/figure>\n

 <\/p>\n

Lloyd says The Quarry <\/em>articulates impressions of people<\/strong>, whether it\u2019s up close with a character or elements framed in windows and mirrors. \u201cThe Alexa 65 format allowed us to be in intimate spaces and capture the moment without forcing the perspective,\u201d he relates. \u201cIt puts the viewer in the room. It sees what your eyes see. You can get close to faces without the distortion, close to the hands.<\/p>\n

\u201cIt\u2019s surreal and completely immersive,\u201d Lloyd adds. \u201cLike when Michael Shannon is lying on the couch in his office. I shot that on the 45 millimeter \u2013 just quickly put the camera on a sandbag on the floor. It took no more than a minute or two, but it\u2019s one of my favorite shots in the film. Or the close-up of Shea on the boat in the end. That\u2019s the only time we\u2019re allowed to feel The Man\u2019s vulnerability, see his desperation to be forgiven. Ironically, we shot that intimate moment on a Technocrane, with the camera inches from his face.\u201d<\/p>\n

Speaking of Whigham\u2019s character, Lloyd says another interesting challenge was having to film the actor in a box, ensuring he was seen from head to toe, top to bottom. \u201cHow to light it, how to physically get the camera in there, how to get the dirt to fall through the cracks, when he bangs on the lid, that was all fun to do,\u201d Lloyd recalls. \u201cWe shot one long take that panned 180 degrees. The lighting feels like it\u2019s coming from his lighter, but it\u2019s augmented by an LED rig that my chief lighting technician, Keith Morgan, made on the spot. We brought some cyan in the shadows by bouncing some light from outside the box just above camera. I didn\u2019t want it to feel lit, but it still needed that dreamy quality, which took some nuance.\u201d<\/p>\n

 <\/p>\n

\"\"
Lloyd can’t praise his Guild camera team enough. \u201cI always expect a lot, no matter the size or scale of the project,\u201d the two-time ECA winner states. \u201cI expect everyone to show up and go hard, and, boy, did this group do that.”<\/figcaption><\/figure>\n

The Quarry\u2019<\/em>s extended courtroom scene was a further testament to the skilled Local 600 camera team. It was shot single-camera and involved the entire cast and a large group of background players. The practical location was tight with no room for traditional movie lights. Morgan and Lloyd devised a flying lighting schematic that would give Teems as much time as possible with the actors. Given the small budget, they sourced market lights that Morgan had bought from Home Depot and Big Lots! stores, and, Lloyd laughs, \u201cthey turned out to be my favorite top-light source I\u2019ve ever used to date.\u201d<\/p>\n

Lloyd can\u2019t say enough good things about his\u00a0Quarry <\/em>crew.<\/p>\n

\u201cI always expect a lot, no matter the size or scale of the project,\u201d he describes. \u201cI expect everyone to show up and go hard, and, boy, did this group do that. [Operator] Louis Normandin was the complete team player. He helped anywhere he could with absolutely no ego. I threw my focus puller, Ian Henderson, into the deep end, sometimes shooting at a 2\/2.8 split with Prime DNA\u2019s on the Alexa 65. These aren\u2019t the actors to blow takes for tech, either. Ian completely accepted the challenge.\u201d<\/p>\n

Lloyd says it was his first pairing with DIT Blackwell.<\/p>\n

\u201cWe initially wanted to do some live grading on set since we couldn\u2019t afford a dailies colorist,\u201d he continues. \u201cBut there just wasn\u2019t enough time as I had to be all over the place. Tyler was fantastic at managing the dailies with Light Iron and Production. He was also familiar with the camera, so he could tech it on the spot. Our 2nd AC, Chase Lowenstein, brought a fantastic spirit. He kept everything moving. And I got to work with my longtime collaborator, Corinne Bogdanowicz, at Light Iron Hollywood. Corinne has such a deft hand, leans into what\u2019s intended, and makes everything better. Working with her allows me to make choices on the day that can save us time and money. You can\u2019t make a film like The Quarry<\/em> without a team like this. It\u2019s really their achievement.\u201d<\/p>\n

 <\/p>\n

\"\"
Michael Alden Lloyd framing up a shot on location says he could not have made the Tier 1 indie without his skilled local camera team. Behind Lloyd in red cap: DIT Tyler Blackwell, (right of Blackwell) 2nd AC Chase Lowenstein in black hoodie\/beanie, 2nd AD Tim Martin in the backwards blue hat immediately behind Lloyd.<\/figcaption><\/figure>\n

 <\/p>\n

Local 600 Crew List \u00a0\u2013 The Quarry<\/em><\/strong><\/p>\n

Director of Photography – Michael Alden Lloyd<\/p>\n

Camera Operator – Louis Normandin<\/p>\n

1st Assistant Camera – Ian Henderson<\/p>\n

2nd Assistant Camera – Chase Lowenstein<\/p>\n

Digital Imaging Technician – Tyler Blackwell<\/p>\n

 <\/p>\n

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

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

Michael Alden Lloyd digs deep for indie gold in the new Lionsgate feature, The Quarry. by Pauline Rogers \/\u00a0Photos and Framegrabs Courtesy of Lionsgate   \u201cIt\u2019s a classic setup \u2013 a stranger rolls into town, claiming to be someone he\u2019s not,\u201d explains Scott Teems, co-writer\/director of The Quarry (available On Demand April 17, 2020)\u00a0which was set to premiere at this year\u2019s SXSW before the global COVID-19 pandemic forced organizers to cancel the event. Released by Lionsgate and Grindstone, The Quarry […]<\/p>\n","protected":false},"author":2,"featured_media":9797,"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":[10],"tags":[],"class_list":["post-9800","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nBetween a Rock and a Hard Place - 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\/between-a-rock-and-a-hard-place\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Between a Rock and a Hard Place - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Michael Alden Lloyd digs deep for indie gold in the new Lionsgate feature, The Quarry. by Pauline Rogers \/\u00a0Photos and Framegrabs Courtesy of Lionsgate   \u201cIt\u2019s a classic setup \u2013 a stranger rolls into town, claiming to be someone he\u2019s not,\u201d explains Scott Teems, co-writer\/director of The Quarry (available On Demand April 17, 2020)\u00a0which was set to premiere at this year\u2019s SXSW before the global COVID-19 pandemic forced organizers to cancel the event. 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