After hours in villain Boyd Crowder’s (Walton Goggins) hillbilly bar\criminal lair… He slugs back some booze with his henchmen while awaiting an important phone call.
Low-key, mysterious, moody…and with a neat shot from a corner of the pool table that helps bring the scene to a satisfying close. In general, I like it. But there’s always a but…
The trouble begins for me at the 0:17 second mark as Boyd walks from the bar to the pool table. As the camera tilts up, the wall and ceiling behind him are too bright for my taste. Of course, I was aware of this at the time we were shooting. It would’ve been easy to fix by flagging the top part of the light source that was located off camera left, but – as so often happens in TV production – time was running out. I let the colorist know that I wanted the same effect executed with a power window in post, but the word apparently fell on deaf ears.
Then there’s the reverse angle of Boyd as he sits on the edge of the pool table at 0:22. The lighting on him is too flat. I would’ve liked to have shifted the source to something of a 10 or 11 o’clock position in relation to Boyd; this would’ve thrown the shadow on the left side of his face toward the lens and been much better for the feel I’d established. But doing that would’ve spoiled the lighting for the other three cameras that were covering this shot. Sure, multiple angles help in many ways, but it’s too bad that the film gods sometimes hang us with our own rope.
I suppose the scene is alright, but those two moments still haunt me every time I see them.
What do you think?