Another Steven Soderbergh Experiment

12Nov/060

Another Steven Soderbergh Experiment

It's like him and Lars von Trier and Gus van Sandt are always trying to top each other:

“We set up our little guidelines,” he said. For one, he banned the sophisticated zoom lenses that make life easier for today’s cinematographers, returning to the fixed focal-length lenses of the past. “I did some research and found some script continuities for a couple of Michael Curtiz films,” he recalled, referring to records of the lens and exposure used in every shot, in case retakes were necessary. “I found that he restricted himself to at most five lenses, usually three or four. I talked to Panavision, and they happened to have some older lenses that they’d made that didn’t have all the new coatings on them and also were a focal length that isn’t really used anymore. One of them was a 32 millimeter, a wide-angle lens that nobody uses anymore but was one that Curtiz used a lot.”

...

They also used only incandescent lights, Mr. Soderbergh said, and no wireless microphones at all. Where many, if not most, filmmakers use “body mikes” to capture the intimate whispers of dialogue, Mr. Soderbergh recorded his sound the old-fashioned way, through a boom microphone held just over the actors’ heads by a technician standing out of camera range.

“The rule was, if you can’t do it with a boom mike, then you can’t do it,” Mr. Soderbergh said. “Which was helpful to me because, in talking to the actors about this very externalized performance mode I was going to ask them to assume, it helped to be able to say, ‘You have to talk louder, you have to project more, because I’m not getting a good enough track.’ ”

Unlike the Method mumble currently in style in American movies, the dialogue in “The Good German” is spoken in crisp, clearly enunciated stage English, emphasizing presentation over interpretation.

--Steven Soderbergh - The Good German - Movie - Report - New York Times