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发表于 2011-3-1 10:26:19
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来自： 中国福建厦门
-t the case with Steinfeld. “
Photograph by Wilson Webb/© 2010 Paramount Pictures.
Vanity Fair’s Official Oscar Picks: Our Digital Ballot Visual Histories: True Grit Cinematographer Roger Deakins Talks About His “Shot of the Year” What Is Sound Editing, Anyway? Unstoppable’s Oscar-Nominated Sound Design, Step-by-Step
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Photograph by Wilson Webb/© 2010 Paramount Pictures.
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He may also be the only filmmaker, outside the spaghetti era, to make three Westerns in four years (True Grit, No Country for Old Men, The Assassination of Jesse James by the Coward Robert Ford). The 61-year-old Brit may seem an unlikely choice for capturing the American West, but the genre appeals to him. “I look at the Westerns I like, and they all have quite complex characters,” he says. Acknowledging the tonal shift his latest Western called for, he adds, “True Grit is more like a kids’ adventure story, really. Even the bad guys have some kind of moral code.””
Another obstacle was snow. “Day one, we went to the location and we were standing in a white-out of two feet of snow,” Deakins says, recalling a pop-up blizzard. “We looked at each other and said, ‘There’s nothing we can shoot.’ So, already, we’re worried about being behind schedule, behind budget.” Deakins looked through the shooting schedule and determined that they might be able to get the scene in which Rooster, LaBoeuf, and Mattie Ross ride away from Greaser Bob’s cabin, so the filmmakers cajoled the crew to pack up and drive 140 miles to that location. By evening they’d shot the scene.
Deakins is a cinematographer’s cinematographer—the type who writes detailed responses on super fans’ discussion boards, sharing technical specs (“a 1K pup [without a lens] and two Tweenies coming through the window”), giving credit when it’s due (“Nancy Haig and I tested a number of blind samples”), and dishing personal advice (“Nothing ventured, nothing gained!”). He isn't driven by praise—just the desire to tell a great story. “When I read a script, I think about the development of the characters—I don’t really think about the visuals. Generally, when you read a script that Joel and Ethan have written, it seems very obvious what it should look like,” says Deakins, which may make him the only person in Hollywood who finds the notoriously uncommunicative Coen brothers completely transparent.
It also pairs nicely with the visual climax, when Rooster and Mattie ride Little Blackie through the night. Both sequences have an emotive quality that set them apart from the rest of the film, as though in Mattie’s vulnerable moments, the bright, spare world she lives in falls away, too. “Sometimes a period of one’s life is so affecting, it defines the entirety of it. For this scene, we  wanted to create a picture-book quality. It’s her memory of what happened that night, so it’s abstract,” Deakins says, admitting that in screenings, “the odd tear was shed.” (If my theater was any indication, “the odd sob” might be more accurate.) This tender tone may not seem a natural fit for the Coens, but it certainly serves their characters. And for the storied filmmaker, that’s what cinematography is all about.
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As a result, complex sequences, such as the shoot-out at Greaser Bob’s cabin, which required four separate lighting scenarios, took five or six nights to capture. “The hardest thing to do in cinematography is a night exterior,” says Deakins, adding that, although on first read he didn’t realize how much of the film took place in the moonlight and firelight, he soon realized he’d been spending much of the time shooting “at quite a large aperture.”
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He says his challenge was to create the West as seen by Mattie Ross, the film’s 14-year-old, no-nonsense heroine, played by Hailee Steinfeld. To capture Mattie’s first encounter with Rooster Cogburn, Deakins considered how her eyes would adjust to an oil-lit courtroom after walking through town in the midday sun. At first glance, Rooster is an indiscernible figure obscured by shadow, but a shaft of light streaming through the window reveals the blustery, half-drunk marshal Mattie will hire to avenge her father’s death.
Although young stars can be difficult for filmmakers to work with, that wasn’t the case with Steinfeld. “I was completely blown away by how assured [she] was,” he says. “It was a hard and fast film to make, and it would have been difficult if that wasn’t the case.” She posed just one limitation, says Deakins: “We could only have Mattie until 10 o’clock at night.”
“We also had to be careful of horse tracks,” Deakins says. “In the scene in the meadow, we had to shoot from above before we shot from below.” This is one example of the way in which the filmmakers’ obsessive, shot-by-shot storyboards paid off. By making sure they have what they need in the can, the filmmakers give themselves room to play. The opening sequence, for instance, was originally planned as three or four shots, with the body of Mattie’s father in the foreground and the man who shot him galloping out of town in the background, but when Deakins realized he would have to wait for dawn to properly silhouette the horse, he used the downtime to experiment. “I tried a side shot, tracking in and ending on the body, which ended up being so much more graphic and interesting,” he says. The resulting melancholy tableau—porch light, falling snow, crumpled figure—has gotten buzz as the most successful shot of the year.
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