The emptiness is ominous, and crucial for the mood of the film. In another sequence, Modus removed a number of small buildings surrounding the main character’s cabin, emphasizing the inner and outer solitude of the protagonist. Taken all together, these little touches have a huge impact on the story.” “The difference was subtle and might not have been noticed by a theatre audience, but it is an example of Anton’s attention to detail. “We were asked to remove the extra sets of footprints from previous takes,” explained Wilisky. In one scene, two of the characters are shown leaving a building after a snowfall. “Soon they were coming to us every few weeks with two or three new shots, each with a different challenge for us,” said Wilisky. The director and the studio were delighted with the results of the work on those two sequences and Modus began receiving new shots, which the director wanted to fine-tune in various ways. The photo-real CG butterfly appears in a number of shots, including several where it is expertly composited onto a fuzzy cashmere sweater. That made it possible to use additional instances of the model when new establishing shots of the tower were added later during editing on the film. Work on the church required digitally removing elaborate wooden scaffolding and replicating the pre-earthquake state of the structure. “Anton had very exact ideas for the images, and we were asked to tweak the focus on certain shots to make sure they were just right,” noted Wilisky
The stillness and beauty of the surroundings contrast with the constant watchfulness of the main character. The many long shots in The American build an atmosphere of tension, especially as they are juxtaposed with close-ups of George Clooney’s eye.
“Imagine a summer day with the light shining through the trees and the wind rustling the leaves.
“It feels like you are there in the scene when you look at these shots,” commented Wilisky. “Every shot is stunning.”Ĭinematographer Martin Ruhe’s shooting style and Corbijn’s reliance on natural light lend the images a powerful sense of immediacy. “I’ve never worked with such beautiful images,” said Yanick Wilisky, VP of production and VFX supervisor at Modus FX. He is all about shooting 100% naturally.”Ĭorbijn’s background as a photographer is apparent throughout the film. “He is famous for using only natural light in his cinematography. “When we started talking about the project, Anton felt unsure about using visual effects,” recalled VFX supervisor Louis Morin. At first glance, The American seems an unlikely candidate for high-end CG work.
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