Harrison Ford’s character has a breakdown in the sun porch of his home as he recalls his mistress – who has recently been murdered. Find it at 0:35:42…
A sharp eye will spot the discrepancy in exposure settings between these two shots – T5.6 for the first, closer one vs. T2.8 1\2 for the second, wider version. In the closer shot, the shooting stop of T5.6 is referred to as being 3\4 under key, which would indicate an actual meter reading at Harrison Ford of T4 1\4. The reason for the deep stop was the correcting effect it had on the Panavision 5-1 zoom lens.
The closer shot also features a significant dolly-in\zoom-in combination, but it didn’t make the final cut of the film. And the “pop light” – which is occasionally referenced in other charts I’ve posted – was a small, clear-glass bulb that put a spot of illumination in Ford’s eyes when the camera moved in. It’s hidden by the doorjamb, screen right.
As for lessening the amount of light in the wide shot (done with the 40mm prime lens), the charts show the removal of one of the 2K’s bounced into the 4’x4′ foam core taped to the ceiling of the sun porch where Ford is located. This would account for the T-stop plummet from T4 1\4 to the new shooting stop of T2.8 1\2. The exposure here is noted as being normal, so everything adds up.
Speaking of which, check out the compositional role the doorjamb plays. It doesn’t just look good photographically, it underscores the movie’s themes by creating a frame-within-the-frame. This was a common Willis device and in this instance represents the outside forces that are about to close in on Ford’s character. He’s even more radically isolated and minimized in the composition and lighting of the wide shot.