Todd Haynes’s visually stunning film, Wonderstruck, employs a sophisticated blend of cinematic techniques to evoke distinct time periods and emotional landscapes. The film’s masterful execution can largely be attributed to the deployment of two primary cameras: the ARRI ALEXA XT and the ARRIFLEX 235.
Decoding the Dual Aesthetics: 1927 vs. 1977
Wonderstruck presents a dual narrative, seamlessly weaving together the stories of Ben in 1977 New York and Rose in 1927 Hoboken and Manhattan. Cinematographer Edward Lachman, a frequent collaborator with Haynes, made a conscious decision to utilize different camera systems to distinguish these eras visually. This wasn’t simply about filters or post-production manipulation; it was about fundamentally altering the way the film was captured.
The 1977 sequences, presented in vibrant color and a widescreen aspect ratio, were primarily shot using the ARRI ALEXA XT. This digital camera allowed for flexibility and speed, crucial for capturing the bustling energy of 1970s New York. Its sensitivity to light also played a vital role in the gritty, realistic aesthetic Lachman aimed to achieve.
In stark contrast, the 1927 segments are presented in stunning black and white, mimicking the style of classic silent films. To authentically capture this era, Lachman primarily used the ARRIFLEX 235, a 35mm film camera, and meticulously controlled lighting to evoke the mood and visual language of silent cinema. This choice was paramount in providing a palpable connection to the history the film was attempting to portray.
Why These Specific Cameras?
The selection of these cameras wasn’t arbitrary. The ARRI ALEXA XT offered unparalleled digital image quality and flexibility, crucial for capturing the spontaneity of the 1977 narrative. Its ability to handle low light conditions effectively allowed Lachman to maintain a naturalistic look, even in dimly lit interiors.
Meanwhile, the ARRIFLEX 235, though a modern camera, offered a crucial advantage: it shoots on 35mm film. This provided the essential texture, grain, and subtle imperfections associated with classic silent film photography. The choice to shoot on film for the 1927 sequences was a deliberate artistic statement, emphasizing the historical setting and creating a powerful visual contrast with the digital clarity of the 1977 scenes.
FAQs: Diving Deeper into the Cinematography of Wonderstruck
1. Did Edward Lachman use any other lenses with the ARRI ALEXA XT for the 1977 sequences?
Yes, Lachman primarily employed Zeiss Super Speed lenses with the ARRI ALEXA XT. These lenses are known for their fast apertures, allowing for shallow depth of field and creating a visually dynamic look. They also contribute to the film’s characteristic bokeh, blurring background elements in a pleasing and artistic way.
2. What film stock was used in the ARRIFLEX 235 for the 1927 sequences?
While the specific black and white film stock isn’t explicitly documented, industry analysis suggests that Lachman likely utilized a high-speed, fine-grain black and white negative film. This would have provided the necessary latitude for capturing detail in varying light conditions while maintaining a visually pleasing grain structure reminiscent of films from that era.
3. How did they achieve the authentic aspect ratio for both eras?
The 1977 sequences were shot in a 2.39:1 aspect ratio, commonly known as widescreen. The 1927 sequences were presented in a 1.33:1 (or 4:3) aspect ratio, the standard for silent films. These ratios were achieved through a combination of lens choices, camera settings, and post-production cropping.
4. What role did lighting play in distinguishing the two time periods?
Lighting was crucial. For the 1977 sequences, Lachman aimed for a more naturalistic, available-light approach, often using practical light sources and minimal artificial lighting to create a sense of realism. In contrast, the 1927 sequences featured meticulously controlled and often dramatic lighting, drawing inspiration from the chiaroscuro techniques prevalent in silent cinema.
5. Were any filters used on the camera lenses?
Yes, filters played a significant role in both eras. For the 1977 sequences, subtle diffusion filters might have been used to soften the image slightly and create a dreamier quality. For the 1927 sequences, specific black and white filters (like yellow or orange) would have been used to manipulate contrast and tonal values, enhancing specific elements like skies and skin tones.
6. How did they handle color grading for the 1977 sequences?
The color grading for the 1977 sequences aimed to capture the slightly muted and saturated colors characteristic of that decade. The grading process likely involved careful adjustments to the color temperature, contrast, and saturation levels to achieve a vintage feel without sacrificing image detail.
7. What post-production techniques were used to enhance the silent film aesthetic?
Beyond the initial shooting techniques, post-production played a crucial role in creating the authentic silent film look. This included adding subtle scratches and imperfections to the image, as well as mimicking the flickering and gate weave often seen in older film prints. The use of intertitles also played a key role in conveying dialogue and narration in the 1927 sequences.
8. Was any CGI (computer-generated imagery) used in the film, and if so, how did it impact the camera choices?
While Wonderstruck is primarily a character-driven drama, some CGI was used, particularly for establishing shots of New York City. The flexibility of the ARRI ALEXA XT, being a digital camera, made it easier to integrate CGI elements seamlessly into the 1977 sequences.
9. How did the camera choices influence the actors’ performances?
The different camera systems and shooting styles undoubtedly impacted the actors’ performances. In the 1927 sequences, the actors were encouraged to use more exaggerated physical expressions and gestures, mirroring the performance style of silent film actors. The more naturalistic approach of the 1977 sequences allowed for more subtle and nuanced performances.
10. Did the use of different cameras present any challenges during production?
Using two distinct camera systems presented several challenges, including the need for separate workflows, specialized equipment, and experienced personnel familiar with both film and digital formats. The key was ensuring consistency in the overall visual style despite the differences in the cameras used.
11. What other films has Edward Lachman worked on where he utilized similar techniques?
Edward Lachman is renowned for his innovative use of camera technology and his ability to create visually striking films. He employed similar techniques in other films like Far from Heaven (2002), which emulated the look of 1950s melodramas, and Carol (2015), which captured the atmosphere of 1950s New York. He often tailors his camera choices to the specific aesthetic and historical context of each film.
12. For aspiring filmmakers, what are the key takeaways regarding camera choice from Wonderstruck‘s production?
Wonderstruck offers a valuable lesson for aspiring filmmakers: camera choice should be driven by the artistic and narrative goals of the film. The film demonstrates how different camera systems can be used to create distinct visual styles, enhance storytelling, and evoke specific emotions. Careful consideration of factors like image quality, aspect ratio, and film stock can significantly impact the overall look and feel of a film. Don’t simply choose the newest or most expensive camera; choose the camera that best serves your vision.