The Goldfinch – Theo in his garage box

[Max A.]

Hello Mr. Deakins and Mrs. James, I retry to open the post cause I tried 10 days ago but it never was published (moderation pending).
It was fantastic to meet you both in Italy, as I write in the picture that we made together “It was a dream that came true!”. I was the first guy in the book signing session on 16th November. I will always bring with me your last words to me just before I go out “happy shooting”.

Apart from this indelible memory that I will have of that day, I would like to ask you, if it is possible, some questions about this scene of ‘The Goldfinch’ (I attach frames below)

As repeatedly said, this movie is one of my favorites in terms of lighting (but all your works are unique) and this scene in particular (Actually all of the moments where Theo goes to this location) often triggers my curiosity about your lighting choice.

The location seems to me really tight so it is difficult to light the subject without ‘wash’ entirely the walls. The light was so soft but also fairly controlled on Theo.
Looking at the angle of the light seems to me that comes from over the door with an angle that is narrow toward Theo. Is this location had a ceiling? Because if it is so it seems to me even more difficult.
Wich kind of ‘fixture’ did you use? Maybe silver stipple reflectors to project and control more the beam?

In this other moment in the same location, the light appears more “spread” (also a different color temperature of light seems to me) and here I would like to ask you not only about the lighting technique but also why you decided to change the overall feeling of the location when Theo goes to see if the painting was there.
It was “purely” an “aesthetic” choice to have image variety of the same location or your intention was different?

As usual, I would thank you for your kindness and your patience. We are very privileged to be able to ask you questions and learn from your experience.

I wish you a peaceful day.
Max.

Topic

[Roger Deakins]

This storage room was a small set and it was lit using a 4′ x 2 tube florescent overhead. I tried to control the spread of the light with silver wrap and I also used 2′ x 2′ silver stipple reflectors to get a little bit of light into Theo’s eyes on certain shots. There was no deliberate intent to change the color or the softness of the light from one scene to another. I think that was simply a case of returning to the same small set many weeks after our first visit.

[Max A.]

Thank you very much for your answer Mr. Deakins! I suppose that the two tubes were just above the frame. I think a set like this is tricky, even if is small and relatively controllable, the fact it is very small can cause the light to spread and bounce everywhere.
The final result is awesome I think, and I think also that you adjusted the angle of the tubes related to the shot to create dimension and shape.
Every time I see your work (almost every day LOL) I am speechless admiring your greatness and art. In every single detail, background portion, drop shadow, form shadow, light pattern, etc. etc.

Thank you again for your patience and again, I was so lucky that finally I could see you and meet you once in my life.

I wish you a peaceful Sunday.
Max.

[Author]

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