The class is usually one session lasting for about 3 hours. Kimmel, who has participated in this class previously, decided to show students, segments of two movies he shot,”Capote” and”Never Let Me Go.” Both clips were out of the third acts of the films. He clarified the decisions he needed to create and why he left themand then provided details about the factors that helped him arrive in these decisions.
In”Never Let Me Go,” Kimmel clarifies that there was a sequence in which one of the chief characters finds the one thing he believed was keeping him alive, isn’t true. “He is destined to expire soon and die young,” clarified Kimmel. It was scripted as a night scene that happened out on a state road, where he is a passenger in a car. He requests the driver to pull over, gets out, and completely breaks down on the side of the road. According to Kimmel, the struggle, both creatively and financially, was light a country road that is in complete darkness.
“This could have demanded a great deal of costly gear, so I proposed to the manager, and then to the producers, to shoot at the scene at that little piece of dusk, when you’re able to truly feel the evening is gone but it’s not totally dark yet.” It might require that Kimmel and the team operate with precision, and do all of the job in a brief window of lighting. “I knew it’d save costs, and time, as long as we can pull it off.”
Since the cinematographer Adam had to convince the manager and producers who shooting at dusk would include something fleeting into the spectacle, and be quite powerful, even though they would have to work fast. They consented, and shared what they would have to have it done. The strategy was discussed with all the actors, and Kimmel broke down and planned each shot with the Assistant Director to ensure they would have everything they needed, for every shot.
In the long run, based on Kimmel, the scene worked really well and he considers the way it was shot put the perfect tone for a profound performance by Andrew Garfield. “This is a great case for pupils to see,” he explained later. “It shows them various factors and options come into play, prior to shooting, and because you shoot”
According to Kimmel, the scenes he highlighted in the Master Class at Cinematography shows to students the real life challenges that a cinematographer faces. “I hope it has given them some insight to how they can apply their imagination when they eventually work as cinematographers.”
Adam Kimmel, ASC is a NYC cinematographer and director of photography (DP) that has been instrumental in helping film directors establish the visual look of feature films and commercials for more than 35 years. As DP, he has also assisted directors and producers as they tell their stories, lending his artistic and technical expertise in lighting, camera performance, and film stock choices. Kimmel was nominated for many national awards for Best Cinematography.
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