Creating frames of light and color.
"Mr. Turner," Mike Leigh's cinematic portrait of British painter J.M.W. Turner, takes place at the turn of the 19th century. And while Dick Pope's cinematography is stunningly beautiful in its naturally lit vistas, it also conveys a sense of rot just under the surface.
"Nothing is too shiny," Pope says. "We got down and dirty with fingernails and general level of hygiene."
Pope and company were blessed with weather that produced the kind of skies Turner was known for, from tumultuous to languid, drenched in mauve and salmon pink. "We filmed the landscape in such a way that it gave you the idea of why he wanted to paint it," the d.p. explains.
Pope shot digitally using an Arri Alexa, but with vintage lenses to give the images texture. "It doesn't in any way look electronic," he says. "The lenses (soften) the digital, and give it more of a period feel."
The one license Pope took was colorization that drew from Turner's palette. "(Turner) used quite a lot of yellow in his highlights on the landscapes, and quite a lot of teal and blue-green in the shadow areas," Pope says. "We added those colors."
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|Article Type:||Brief article|
|Date:||Dec 9, 2014|
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