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HBO系列剧《巴里》摄影指导宝拉•维多夫罗
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“我喜欢SkyPanel的多功能性，也喜欢ARRI HMI灯的色彩表现和光线一致性。”
——《巴里》摄影指导 宝拉•维多夫罗
HBO的黑色喜剧《巴里》是一个关于来自中西部的职业杀手（比尔·哈德尔饰演）的故事，由艾美奖最佳摄影提名摄影师宝拉•维多夫罗使用ALEXA摄影机和ARRI灯光拍摄。
HBO的电视系列剧《巴里》刚刚结束第一季的播出，这部黑色喜剧讲述一个来自中西部的职业杀手（比尔·哈德尔饰演）前往洛杉矶执行任务，却误打误撞加入古怪的“表演名师”吉恩•科森纳（亨利·温克勒饰演）开办的社区表演训练班的故事。“《巴里》之所以吸引我，是因为它结合了黑色幽默、主人公身上的悲剧色彩，还有所有那些角色努力为生活打拼，却不见得能够如愿的辛酸，”本剧摄影师宝拉•维多夫罗（Paula Huidobro）说：“我喜欢巴里过着双重生活的样子，有时候，这个罪犯的行为反而称托出他表演班同学的不堪，凡人也许比罪犯更残忍。巴里这个人物塑造得非常丰满，你越了解他，越是挂念他。每个角色好像都有自己的人生使命，看到他们一个个屡败屡战、屡战屡败，实在让人忍俊不禁。”
在看过宝拉•维多夫罗的作品集后，制片人艾达•罗杰斯（Aida Rogers）把她推荐给《巴里》的联合创作人比尔·哈德尔（Bill Hader）和亚力克•博格（Alec Berg）。维多夫罗之前曾拍摄过一系列独立影片和电视项目，她说在面试过程中和两位主创谈到他们对这部剧集的风格和质感的设想，立刻就明白了他们的意图：“比尔希望和已经拍好的试播集一样，保持摄影机的稳定和条理，花点时间去设计机位、排练走位，让演员和摄影机能形成协调的互动。”她还补充说制作人不希望去美化暴力，因此她没有去过度渲染这些场面，遇到这种场景，不要用多角度、多镜头拍摄，避免观众的注意力被暴力转移。比尔·哈德尔非常欣赏电影大师比利•怀尔德（Billy Wilder），尤其是他1960年的《桃色公寓》，另外，科恩兄弟的电影，比如《阅后即焚》，都是这部剧集视觉风格参考的重要标准。
维多夫罗率领的摄影团队使用三台ARRI ALEXA、一台ALEXA Mini和从租赁公司Otto Nemenz租来的Optimo变焦镜头。在前期准备阶段，他们就计划好了场景的定位，理出了分镜表。“演员进场后，可能会调整他们的定位，或者作出一些变动，让我们能更合理地布置机位，”她说：“同时，尽力在构图中找到幽默的火花。”
比尔·哈德尔和莎拉•戈德堡
照片：Jordin Althaus, HBO提供
第7集里有一个维多夫罗非常钟爱的场景，黑帮老大的私人飞机即将落地，巴里一行人也驱车赶到了，一场冲突即将到来。通常，这样的场面喜欢用激烈的运镜和大量镜头混剪，来营造紧张感。然而，这一次的镜头从飞在天上一直到稳稳的着陆，始终平静地跟随飞机。“然后，看到一辆小车远远地驶来，”维多夫罗说，黑帮团伙正在等自己的老大抵达，当发现巴里的SUV逼近，只好拔枪射击，逼迫汽车翻滚爆炸：“没有危机感，摄影机的运用十分克制、谨慎，相当传统。这种慢节奏和人物的表演，还有构图的一板一眼，和大家习以为常的这类危险暴力场景的表现形式大相径庭。这就是《巴里》，在我看来，甚至更显得荒诞可笑，这就是《巴里》整体风格的统一。”
亚力克•博格担任第8集的导演，这一集里，巴里给他的临时同伙弗契斯脸上狠狠来了一拳，从他嘴里套出他们共同敌人格兰的消息。“所有角色都在摇摆，小团伙关系不断变换，”她说：“灯光、构图、走位还有摄影机的运镜也在同步发生变化。我们根据剧情规划了分镜表，十分享受用这种方式拍摄这一部黑色喜剧，不管是单个角色或是群体戏，剧情张力体现得很强烈。”这一集的出色表现让维多夫罗获得艾美奖最佳摄影提名。
导演亚力克•博格和摄影指导宝拉•维多夫罗
照片: John P. Johnson, HBO提供
灯光在营造视觉风格上的作用不可忽视。“我希望光线越柔和越好，这样我们工作起来相对更快，风格也更一致，”她说：“我的灯光师保罗•麦克艾尔文（Paul McIlvine）和我决定用一种更传统的手法，用螺纹透镜灯、书页光和灯笼，而不是现在流行的LED灯。”白天的外景，他们用ARRI M18、ARRIMAX和SkyPanel来布光。维多夫罗说：“我喜欢SkyPanel的多功能性，也喜欢ARRI HMI灯的色彩表现和光线一致性，它们都是最好的工具。”
“我们想要光线显得真实，”她继续说：“我坚持不要有阴影，这样会分散你放在演员表演和剧情上的注意力，但反差多少还是要有一些。光场应该塑造得有意思一点，我可不喜欢那种情景喜剧的大平光，但是大部分地方也要避免硬邦邦的光线。”除了影视灯，他们也用到很多外景和棚内的实际场景光，“镜头拍不到的时候，我会尽量做柔光和强度控制，”她说：“每天拍摄成功的关键就是能在场景中构建各种灯光方案。”
演员安东尼•卡瑞甘和格伦•弗莱希纳
照片：Jordin Althaus, HBO提供
也就是说，在其中一个主要的场景——剧院里，架设一个“美丽的柔光箱”是少不了的，维多夫罗将它形容为“无价之宝”。据说，她的首席器械师保罗•博金斯（Paul Perkins）早就准备好一切遮光和柔光的设备。“我的要求那么多，肯定把他逼疯了，不过他真的很支持我，我们一起搞定了许多棘手的场景，”维多夫罗说：“比尔的信任也非常重要，我们一起制定日程、计划外景，给灯光师留出充分的工作时间，在电视圈里，我知道能这样做的不多。”
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HBO’s BARRY: DP Paula Huidobro Takes the Reins
"I like the versatility of the SkyPanels and I like the color of the ARRI HMIs and how consistent they are."
—— DP Paula Huidobro, BARRY
HBO’s BARRY is a dark comedy about a Midwestern hitman (played by Bill Hader). Emmy nominated DP Paula Huidobro, captured the show on ALEXA with ARRI lights.
Just wrapping its freshman season, HBO’s BARRY is a dark comedy about a Midwestern hitman (played by Bill Hader), who travels to Los Angeles to kill someone. He stumbles into a community acting class, led by the quirky Gene Cousineau (Henry Winkler). “What made BARRY interesting to me was the combination of dark humor, his tragic innocence and how hard all the characters were trying to excel in their lives, not always with much success,” says BARRY cinematographer Paula Huidobro. “I love that Barry lived a double life, and how sometimes the behavior of the criminals mirrors that of his classmates in the acting school. Sometimes the acting students would seem more ruthless than the criminals. The characters are all very well developed and they grow on you, the more you learn about them. They all seem to be on a mission and it’s incredibly funny to see them fail but keep on trying.”
Producer Aida Rogers brought Huidobro on the project after looking at her reel and recommending her to BARRY co-creators Hader and Alec Berg. “I interviewed and immediately connected with both of them, talking about the material and their vision for the style of the project,” says Huidobro who previously shot a string of independent features and TV projects. “Bill wanted the camera to be composed and disciplined. He wanted to preserve the studio mode in which the pilot had been shot, and spend the time blocking it and rehearsing for full takes where the actors and the camera would dance together.” She added that the creators didn’t want to glorify violence, which is why she didn’t over-cover those sequences or stylize them with multiple angles and shots that would remove the audience from the violence. With regard to references, Hader is a big fan of Billy Wilder, particularly THE APARTMENT, and the Coen brothers’ movies, especially BURN AFTER READING, were also “a great source of inspiration” for the show’s visual style.
Huidobro and her team used three ARRI ALEXAs, one ALEXA Mini, and Optimo Zooms from rental house Otto Nemenz. During pre-production, they blocked scenes and created shot lists. “Once the actors were on set, we would adjust their marks or I would suggest some changes so we could carry the shot for a longer period of time,” she says. “We also tried to find comedy in the frames.”
Bill Hader, Sarah Goldberg
Photo: Jordin Althaus, courtesy of HBO
In one of Huidobro’s favorite scenes in Episode 7, a small airplane carrying a gang leader lands, just as Barry and his crew drive up – and chaotic violence ensues. It’s a scene that would typically be told with frenetic camerawork and lots of cuts, to enhance the violence. Instead, the shot starts on the plane in the sky, following it gently and peacefully as it lands. “Then you see a small car approaching from a distance,” says Huidobro. When the gangsters, who are waiting for their boss to arrive, see Barry’s SUV appearing on the horizon, they decide there is no choice but to shoot at it, making it turn over and explode. “Instead of feeling dangerous, the camera work was very composed, careful, almost traditional,” she says. “The juxtaposition of the slow pace and how composed the characters are and how formal the frames are, is completely opposite to what one would expect in this heightened, dangerous situation. That’s what makes it, for me, even more funny, and what seems to be the style of BARRY as a whole.”
In Episode 8 she worked closely with Berg, who directed the episode. In this episode, she noted, BARRY punches his one-time ally Fuches in the face, spurring Fuches to flip and offer information about him to their mutual enemy Goran. “All the characters are unraveling and allegiances shift,” she says. “I thought the lighting, framing, blocking and camera movements were all completely in synch. We shot-listed our sequences and we enjoyed capturing the dark humor of the situation in the way we framed the characters, and the group shots that really show the power dynamics.” Her efforts on the episode garnered Huidobro an Emmy nomination for best cinematography.
