Issue link: http://digital.copcomm.com/i/1332040
I consider myself a colorist fi rst, so when the director of photography Declan uinn asked me what I thought of shooting the fi lm on 16mm, I was thrilled. The idea was director Eugene Ashe's. Declan had shot Leaving Las Vegas on 16mm. I hadn't worked in 16mm since NYU, though I knew if I punched up the chroma levels in my color choices at certain times during the story, it would make it very romantic, and simulate Technicolor. We wanted the fi lm to look like the MGM fi lms of the fi fties, including the use of backlots for New York, (Harlem and the Bronx). The Warner Bros. and Paramount backlots worked perfectly. Add a wet-down, nighttime, a couple dancing in the street to jazz and you have romance. Another theme of the fi lm, one that often accompanies moving fast, the production had very little money. Moving fast is the norm, so the lack of money was the largest challenge of this period piece. The entire fi lm was shot in Los Angeles for New York and Detroit. One set triggered a most challenging predicament. The rooftop of Sylvie's Harlem brownstone. There were several tar- beach sunbathing scenes on the roof, as well as a night scene. Being low budget, VFX for all the scenes was not possible. Growing up in New York, I spent much time up on tar beach. These roofs are all black B. RECORD STORE EXTERIOR SIGNAGE. GRAPHIC LAYOUT. C. RECORD STORE INTERIOR. SET PHOTO. D. BACKLOT EXTERIOR. PRODUCTION STILL. B C D