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Hello Mr. Deakins,
A third watch of Prisoners brought me to reexamine your lighting breakdowns for the interior locations. You mentioned that carefully selected practicals did much of the heavy lifting lighting the Dover interior, particularly during Thanksgiving. I’d suspect this is the case for the Jones’ house as well. When shooting on location and in tight spaces like bedrooms depicted in the stills below, did you rely heavily on controlled household practicals in this scene? If additional sources are in play, how do you hide them in a way that doesn’t constrain the camera or talent in the space?
Thank you always for your time and unwavering support!
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The practical lamps are important as they set the tone of the lighting, but I would usually add a small bounce source to augment what comes naturally. The two images you post, for instance, were lit using a lamp rigged to the ceiling bounced off some muslin stretched against the wall on the side of the frame.
You ask if that lighting constrains the talent but we would have done a blocking rehearsal and the actors were comfortable with their positions. Of course, Prisoners was shot in a very deliberate way and that is not always the case. A Beautiful Mind was much more ‘free flowing’ and the lighting had to allow for that kind of flexibility, as did my operating.
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