AmericanCinematographer201201

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◗ Cold CaseIn an attempt to blend into society, Lisbeth adopts a more feminine style, donning ablonde wig and dressing conventionally.novel. “The notion of these horrors,these particularly evil doings, takingplace in an environment that’s icy,snowy and somewhat inhospitable justseemed right to me,” says Fincher. “Icouldn’t see setting the story anywhereelse. In Northern Europe, you’re cut offfrom the rest of the world a goodportion of the year in a very uniqueplace. The people are hearty, and thewinters are very hard. I’m happy wedidn’t transpose the story to Seattle orMontreal or, worse, play Montreal forSweden.”However, the unique propertiesof natural light at that latitude presentedsome challenges. At summer’s peak,Stockholm experiences 19 hours ofdaylight, and at winter’s peak, just sixhours. Moreover, the winter sun barelymakes it off the horizon, even at “highnoon,” and the summer sun typicallyreaches a point about 54 degrees off thehorizon at the height of the day.“There’s a reason why SvenNykvist’s movies look like they do!”Fincher notes with a laugh, referring tothe late ASC cinematographer who wasfamous for his collaborations withfellow Swede Ingmar Bergman.Early in his career, Cronenwethworked with Nykvist as a camera assistantand operator. “Sven brought hisown version of soft light to all of hismovies,” he says. “He was very inspiredby the light of his hometown. In thesummer, it almost never gets dark, andbecause you’re so far north, the sun canset and then rise again, about an hourlater, in almost exactly the same place. Ifyou want a dawn shot, dawn can last twohours! The light changes so muchthroughout the year that it’s very challengingon a project as long as this one.”“We had short nights when wegot there and really long nights when weleft,” adds Fincher. “It can be verydisconcerting if you’re not used to a sixhourday. You can start work in themorning and then find the sun goingdown at lunch.”“We set out to embrace theSwedish winter,” says Cronenweth. “It’sa strong element in the story, almost acharacter of its own, and we spent a lotof time out in the snow with those veryunique light tonalities. We embraced allof the idiosyncrasies of the locations.”The biting cold of winter gave riseto one of the production’s few equipmentproblems: the low temps causedsome of the floating elements in theArri/Zeiss Master Primes to misalign,so the lens’s witness marks were off.“The Master Primes have seven floating42 January 2012 American Cinematographer
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Page 5 and 6: J A N U A R Y 2 0 1 2 V O L . 9 3 N
Page 7 and 8: “ A SPLENDID EXAMPLE OF HOW TO TU
Page 9 and 10: BEST CINEMATOGRAPHYHOYTE VAN HOYTEM
Page 11 and 12: © 2011 Paramount Pictures. All Rig
Page 13 and 14: C O N S I D E R . . .“THE CINEMAT
Page 16 and 17: Top: String Theory begins in a dust
Page 18: Top, left and right:Shooting at 1,0
Page 21 and 22: F O R Y O U R C O N S I D E R A T I
Page 24: Top left: The crew films the long w
Page 28 and 29: Clockwise from top-left: ASC Lifeti
Page 30 and 31: IHPA Lifetime Achievement Award rec
Page 32 and 33: ASC President Michael Goi (left) an
Page 34 and 35: Cold CaseDavid Fincher reteams with
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Page 40 and 41: ◗ Cold CaseTop: The crewconfronte
Page 42: ◗ Cold CaseStepping awayfrom herc
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Page 49 and 50: Fincher and production designerDona
Page 51 and 52: Photos by Andrew Cooper, SMPSP and
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