With his absorbing historical drama Barry Lyndon (1975)—an adaptation of a William Makepeace Thackeray novel that archly chronicles the fortunes of a scheming social climber (Ryan O’Neal) in eighteenth-century Europe—the famously exacting Stanley Kubrick set out to vividly evoke a vanished past. To create the authentic look of the film, which went on to win multiple technical Oscars, the filmmaker drew inspiration from the landscape painting and portraiture of artists of the period such as Thomas Gainsborough and William Hogarth, and went to unprecedented lengths during production. In particular, the film’s interior scenes—which Kubrick insisted on shooting primarily by candlelight—posed myriad challenges for cinematographer John Alcott and his team, necessitating not only the retrofitting of super-wide-aperture lenses but also various practical work-arounds on-set. In the clip above, taken from a supplemental program on our new edition of Barry Lyndon, focus puller Douglas Milsome and gaffer Lou Bogue recall the breath-shortening amount of oxygen consumed by the candles during shooting, and the crew’s eventual use of reflectors to amplify the illumination without also producing more heat and smoke.
A Hidden Figure of the Czechoslovak New Wave Takes the Spotlight
In this excerpt from an interview on the edition of Diamonds of the Night, film programmer Irena Kovarova talks about the work of one of director Jan Němec’s key collaborators, Ester Krumbachová.
Robert Zemeckis Looks Back on His Debut-Film Jitters
In a new conversation with collaborators Bob Gale and Steven Spielberg, the director of I Wanna Hold Your Hand talks about the terror of being a first-time feature director.
How Carlos Reygadas Plans for the Unexpected
Storyboards have been an important part of the Mexican filmmaker’s process from the beginning of his career. In this interview, he talks about the freedom that meticulous pre-planning allows him on-set.