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STATE OF PLAY

Cameras And Costumes
As they worked with designer Friedberg, cinematographer Prieto and Macdonald ensured that every decision was in service of the director's desire to, "visually show the change from journalists being the glowing stars—investigative heroes in the '70s—to being now sometimes thought of as the lowest of the low.”

Adding to the distinct look of the film, Prieto used two different kinds of cameras: the standard Panavision—fitted with a new generation of anamorphic lenses that had not yet been tried in a feature film—and a Genesis digital camera. "We made the decision that we were exploring two worlds, and they should each be distinct,” Prieto explains. "We used anamorphic lenses for the world of journalism and digital for the world of politics—partly because whenever we, as average citizens, see politics, it's through a video camera.” It was also important to the DP and Macdonald to differentiate the characters through use of lenses. "Cal is more sloppy in his demeanor, in the way he keeps his apartment,” says Prieto.

"Stephen's world is more formal, with sharper edges. Of course, it doesn't look super-obvious. The hope is that the audience will feel differently when they see different parts of the movie. Then they come together and the climactic scene is on film, handheld, because the congressman is entering Cal's world.”

Jacqueline West selected State of Play's costumes with the same attention to gritty realism. "Kevin had a very definite feeling and look and mood he wanted for the movie,” she notes. "We were both inspired by movies from the '70s and the colors in them. Kevin likes the realism that you see on the streets.”

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