{"id":51359,"date":"2020-08-21T19:16:00","date_gmt":"2020-08-21T16:16:00","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/jonathan-freeman-explains-the-craft-of-intimacy-in-defending-jacob\/"},"modified":"2020-08-21T19:16:00","modified_gmt":"2020-08-21T16:16:00","slug":"jonathan-freeman-explains-the-craft-of-intimacy-in-defending-jacob","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/jonathan-freeman-explains-the-craft-of-intimacy-in-defending-jacob\/","title":{"rendered":"#Jonathan Freeman Explains the Craft of Intimacy in \u2018Defending Jacob\u2019"},"content":{"rendered":"

“#Jonathan Freeman Explains the Craft of Intimacy in \u2018Defending Jacob\u2019<\/strong>”<\/p>\n

Welcome to World Builders<\/strong>, our ongoing series<\/a> of conversations with the most productive and thoughtful behind-the-scenes craftspeople in the industry. In this entry, we chat with cinematographer Jonathan Freeman about the visual requirements of emotional proximity found within Defending Jacob.<\/em><\/p>\n
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Unconditional love is a fortune worth more than all the gold buried inside Fort Knox. But are humans capable of such a thing, or is it a gift only available to dogs and other household pets? You love your child, but could you still love that child if they committed the most heinous of sins? Take a moment, think about the worst crime possible. Now, attach that crime to the heart of your child. Do you still love them?<\/p>\n

Defending Jacob<\/em><\/strong> places two parents in such a scenario. Assistant district attorney Andy Barber (Chris Evans<\/strong>) is tasked with the prosecution of a young boy\u2019s murderer. The victim was a classmate of his son Jacob (Jaeden Martell<\/strong>). During the early stages of the investigation, evidence suggests the dead high schooler fell under a blade belonging to Andy\u2019s son.<\/p>\n

The eight-episode series, currently streaming on App<\/a>le TV , whips Andy and his wife, Laurie (Michelle Dockery<\/strong>), through an emotional tsunami. Doubt, rage, rejection, and confusion confound them. Their Jacob could not possibly be capable of such barbarism\u2026 well, maybe, he could. Now what?<\/p>\n

Crucial to the narrative\u2019s success is achieving the appropriate point of view. Director\u00a0Morten Tyldum<\/strong> and cinematographer Jonathan Freeman<\/strong> went through the script page by page. Together, they designed shots to impact the audience based on how they perceived the main characters. The question became: who gets the objective lens, and who gets the subjective lens?<\/p>\n

\u201c[Mort] wanted the audience to experience the story through the protagonist\u2019s eyes as much as possible,\u201d says Freeman. \u201cWe referenced films like Michael Clayton<\/em>, Mystic River<\/em>, and some Polanski and Bergman, where there is a very subjective approach to the way in which the audience experiences the story. For example, with Polanski, where the camera is intimately close to the character, and you\u2019re seeing what\u2019s happening literally over their shoulder.\u201d<\/p>\n

Defending Jacob<\/em> contains many similar moments with the camera anchored to Andy and Laurie. As the series progresses, and the doubts seep deeper into their being, the camera gets tighter and tighter to their person. The audience is tied to their anxiety through closeup, freeing the actors to emote in the most minuscule of ways.<\/p>\n

\u201cAll of that was pretty exciting,\u201d says Freeman. \u201cIn the sense that we had these great actors and that the drama was going to be played out in these intimate closeups. We would cover Jacob in a somewhat more distant way, in a more subjective way, where we feel, in some cases,\u00a0physically drawn away from him as the suspicion starts to build.\u201d<\/p>\n

Covering Jacob from the parent\u2019s perspective creates a mystery to the teenager\u2019s motivations. Visually and narratively, we\u2019re highly aware of what Andy and Laurie are thinking most of the time, but Jacob remains a terrifying enigma. Given the moment, the audience\u2019s interpretation of the suspect could go either way, and the puzzle that is their child is as equally horrific to the violent acts he\u2019s accused of committing.<\/p>\n

\u201c[Distance] was done in the blocking,\u201d continues Freeman. \u201cWe discovered that with the actors, by framing characters, separating them through architecture, whether it be a doorway or a window. We used a lot of negative space when we could to show the distance between them. It\u2019s very basic stuff, but hopefully not enough that it\u2019s subconscious.\u201d<\/p>\n

In a further effort to capture the required intimacy, Freeman selected the Panavision XL II as his instrument of choice. As a heavily performance-oriented piece, Defending Jacob<\/em> demanded a tight, distinctive frame. The XL II thrives atop the faces of actors.<\/p>\n

\u201cWe started with the most important thing for us,\u201d he explains. \u201cWhat was the glass that we were going to use? This is an intimate story. It\u2019s a story of three principal characters that are going through quite traumatic events. We considered anamorphic, and we did some tests, and we decided that, in the end, we would go with the G series from Panavision, which has this beautiful aesthetic to it.\u201d<\/p>\n

Apple has its specific delivery requirements. If Freeman wanted to shoot anamorphic, the camera had to deliver the resolution that they needed for their broadcast. The calculation is not merely one plus one equals two.<\/p>\n

\u201cMy brilliant first assistant did all the math,\u201d laughs Freeman. \u201cI don\u2019t know how he did it, but he worked with Panavision to confirm that the only sensor we needed that would deliver what Apple needed was the XLII, which of course, has the RED Monstro sensor in it. We shot, I think, 8K, 6.5, anamorphic in full sensor mode.\u201d<\/p>\n

The goal was high contrast, high resolution that did not scream of digital technique. Morten Tyldum wanted the warmth of film present on screen. Matching the right lens to camera\u00a0was pivotal.<\/p>\n

\u201cAll of these cameras are beautiful in terms of resolution,\u201d says Freeman. \u201cHowever, they can come out a little bit sharp depending on what glass you\u2019re using. The G series really had a beautiful softness to it that still renders sharp details in the eyes and other details as well. It just smoothed out those edges a little bit, which was great.\u201d<\/p>\n

When it came to lighting the series, Freeman found inspiration in his director\u2019s Norweigian origins. He sought a Nordic vibe where a lack of natural sunlight implies peril. He did not necessarily crave a bleak environment, but he was interested in the dangers of neutrality.<\/p>\n

\u201cLess light created varied emotions,\u201d he says. \u201cI think that\u2019s better in some way. My goal was to keep in as naturalistic as possible, leaning toward it being slightly cool. To totally saturate it and hold the parts together\u00a0while trying to keep it understated in some ways. Hopefully, it\u2019s not too somber, but more like a requiem.\u201d<\/p>\n

The story is one of distance. There is the space between the characters, and there is the space between the viewers and the protagonists. Freeman is the master of the tether, continually releasing and tightening the slack. His camera is a weapon of anxiety.<\/p>\n

Defending Jacob<\/em> is a tragically-minded thriller where performances are sold through careful, strategic craft on both sides of the lens. Freeman\u2019s camera dissects unconditional love. Within the frame he\u2019s composed, the audience considers their reflection, and the actions they would take in the footsteps of these two tormented parents. Freeman never plummets the visuals into despair, but he does bump against it.<\/p>\n

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Defending Jacob<\/em> is now streaming on Apple TV .<\/strong><\/p>\n<\/p><\/div>\n

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“#Jonathan Freeman Explains the Craft of Intimacy in \u2018Defending Jacob\u2019” Welcome to World Builders, our ongoing series of conversations with the most productive and thoughtful behind-the-scenes craftspeople in the industry. In this entry, we chat with cinematographer Jonathan Freeman about the visual requirements of emotional proximity found within Defending Jacob. Unconditional love is a fortune…<\/p>\n","protected":false},"author":1,"featured_media":51360,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[7152,40402,23258,1354,10294,56845],"class_list":["post-51359","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-apple-tv","tag-chris-evans","tag-cinematography","tag-columns","tag-interviews","tag-jonathan-freeman-explains-the-craft-of-intimacy-in-defending-jacob"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/51359","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=51359"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/51359\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/51360"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=51359"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=51359"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=51359"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}