Sicario – Briefing Room

[ByongHoon Jo]

Hi Roger,

 

In Team Deakins Podcast S1 Turning the Tables – Sicario, you talk about a shot in the briefing room scene of Sicario was lit for when the overhead fluorescents were on, but was cut into a moment when the lights are off. You mentioned you understood the reason why the editor did so, and timed the shot to match the scene.

I’ve analyzed the scene so many times, and I always bring up this scene when discussing POV with my director. I love the camera puts us in Kate’s perspective through her close up, and her POV shot. But I’ve never noticed that a shot lit for a different moment has sneaked in. Looking closely, I’m assuming it’s the shot of firearms panning into the soldiers, by looking at the reflections on the chairs and sunglasses.

Topic

[ByongHoon Jo]

My writing was cutoff so here’s the rest of my question:

I assume the decision in post was made because Kate seeing the firearms and soldiers conveys her nervousness, and the shot matches well with her eyeline.

I want to hear from you about why you agreed with the decision in edit, and how you constructed this sequence with perspective in mind. (Or did I make a totally wrong guess)

Thanks.

[Roger Deakins]

I think that was the shot as it does seems the overheads are reflect on the characters heads. Denis and the editor were trying to construct the best version of the scene. The fact is that we shot the POV, if that really is the one that was moved, for later in the scene but they felt it would be stronger earlier makes total sense. I once shot a dance sequence with Sam Mendes that involved multiple color changes. In that case he used a red shot to match into part of the scene which we had shot under blue light. Luckily, we were finishing the film with a DI and I could adjust the shot so that no one has noticed the imbalance. Other than me! I hated having to do it but the scene was stronger for it being edited in that way.

Watch the driving sequences in Scorsese’s  Alice Doesn’t Live Here Anymore. (His best film IMO) In one section the background to the boy is almost dusk while the reverse is in blinding sunlight. And its a long scene. No one, least of all Marty, would intend it that way but there are always compromises to be made.

[ByongHoon Jo]

Thanks for the reply Roger.

Again, this sequence has been my favorite when discussing narrative point of view. I always talk about it to my directors or when I’m teaching. Glad to be able to hear from you!

[Author]

Replies