1st AD called for an evacuation, the rain became a downpour and that little trickle of water down the narrow canyon floor started to grow. After making that soggy trip to the camera truck, I quickly changed into rain gear and came back down canyon to pick up the “C” body and tripods left behind. By the time the teamsters came to pick me up, the water was up to my knees and a raging torrent. The four-wheel drive stake bed crawled up sideways against the current and almost did not make it out. Welcome to Cowboys & Aliens.
W
eeks earlier, I was in Director of Photography Matty Libatique’s office in Santa Monica. The walls here were covered with visual references and the halls had posters of Sergio Leone movies. He described to me an integration of two styles, one a classically filmed Western very much in the style of John Ford; where the camera moved only when appropriate and the actors and action moved within the frame. When the science fiction appears, the visual esthetic changes gear. The camera is now moving constantly and often handheld or Steadicam. In many pre-production discussions on other shows, I’ve seen ‘master plans’ or a visual esthetic described in great detail that sadly is abandoned
Peter Rosenfeld soc in New Mexico filming Cowboys & Aliens.
Harrison Ford, Daniel Craig and Olivia Wilde ride thru heavy rain in Cowboys & Aliens.
S
anta Fe, NM The rain is coming down in sheets. A fast moving river flows around my ankles as the company scrambles to evacuate the narrow canyon where we had been shooting. Drenched and carrying two mag cases, I look down at the sodden feet of the person in front of me. Tilting up I see the back of a soaked Harrison Ford. He is carrying the “A” primes cases. Two of them, the longs and the shorts. “Hey Harrison!” I call out. “There are more people behind us! We’re good! Take off !” “I’m fine!” he hollers back, not breaking stride, “Let’s just get the f*** out of here!” I glance to my right as a figure passes me. It’s Daniel Craig. He is as soaked as the rest of us and is carrying the tripod with my OConnor 2575 head still on it.
32
CAMERA OPERATOR: COWBOYS AND ALIENS
It’s very possible that this movie may have been the toughest of my career.
T
his moment somewhat encapsulates the Cowboys & Aliens experience in New Mexico. The weather was a constant reminder of the power of Mother Nature out in the New Mexican desert and she reminded us constantly of who actually was in charge here. That particular rain squall had started only 15 minutes earlier when a few innocent drops splattered down on our set. A group of 50 or so filmmakers with a complement of horses and gear were filming in a ‘slot canyon.’ It got that narrow from the thousands of flash floods that rushed through here in years past. As those first drops fell a local grip standing beside me said, “We should pack up and split right now.” This is a guy who hardly says anything. I looked at him and then the sky. Didn’t seem too bad to me. By the time our Fall / Winter 2011
—Peter Rosenfeld soc
Fall / Winter 2011
to some degree during the hard realities of a tough shoot. However in this case, Cowboys & Aliens the movie is exactly what the pre-production concept was — to the letter. It is to the credit of the determined and creative genius of Matty Libatique and director Jon Favreau that the movie never ‘got away from us’ in spite of the extreme conditions. The team assembled for the task was some of the finest filmmakers I have had the pleasure of working with. The seasoned eyes of Chris Moseley operating “B” camera and refreshing artistry of Magela Crosignani on “C” turned in incredible footage. Late in the show, when Moseley had to leave early, Joe Cicio capably stepped in. Much of the movie takes place at night and is shot nearly wide open on the Panavision anamorphic “G” series lenses. The great work of focus pullers Mark Santoni, Matt Stenerson, Paul Santoni and Chris Toll are prominently displayed. Dolly grip John Mang proves yet again who is the operator’s best friend on set. It would be hard to find a more talented and fun bunch of people to make a movie with. CAMERA OPERATOR: COWBOYS AND ALIENS
33