American Cinematographer - June 2016 - 73

Opposite and this
page, top: Private
detective Holland
March (Ryan
Gosling, left) and
freelance enforcer
Jackson Healy
(Russell Crowe)
team up to find
runaway Amelia
(Margaret Qualley)
and investigate
the seemingly
unrelated death of
a porn star in The
Nice Guys. Middle:
Cinematographer
Philippe Rousselot,
ASC, AFC (behind
the camera) lines
up the Arri Alexa
XT Plus 4:3.
Bottom: Director
Shane Black and
Rousselot plan
their coverage.

Unit photography by Daniel McFadden, courtesy of Warner Bros. Entertainment Inc.

T

he year is 1977. The place: Los
Angeles. The story is a sharpedged, Chandler-esque thriller in
which a private detective named
March (Ryan Gosling) and a freelance
enforcer named Healy (Russell Crowe)
team up to track down a runaway girl
(Margaret Qualley) with a devastating
secret. The Nice Guys is Shane Black's
third feature as a director, and it's close
to No. 70 for Oscar-winning cinematographer Philippe Rousselot, ASC,
AFC.
In prepping the film, the director
of photography found himself thinking
of Diva, the now-classic French thriller
he shot for director Jean-Jacques Beineix
in 1981. "I entertained going rather bold
with colors, the way I did on Diva when
I played a lot of hard blue against the
occasional drop of bright yellow," says
Rousselot. Over the course of his preparation for The Nice Guys, however, the
locations, sets and costumes began to
conflict with that concept. "Every film
dictates its own style, and L.A. in the late
1970s is not Paris in the early 1980s," he
elaborates. "The cameraman is given
things to film, and it is the job of the
cameraman to go with the flow."
This meant relying on production
designer Richard Bridgland and
www.theasc.com

June 2016

73



American Cinematographer - June 2016

Table of Contents for the Digital Edition of American Cinematographer - June 2016

Contents
American Cinematographer - June 2016 - Intro
American Cinematographer - June 2016 - Cover1
American Cinematographer - June 2016 - Cover2
American Cinematographer - June 2016 - 1
American Cinematographer - June 2016 - 2
American Cinematographer - June 2016 - Contents
American Cinematographer - June 2016 - 4
American Cinematographer - June 2016 - 5
American Cinematographer - June 2016 - 6
American Cinematographer - June 2016 - 7
American Cinematographer - June 2016 - 8
American Cinematographer - June 2016 - 9
American Cinematographer - June 2016 - 10
American Cinematographer - June 2016 - 11
American Cinematographer - June 2016 - 12
American Cinematographer - June 2016 - 13
American Cinematographer - June 2016 - 14
American Cinematographer - June 2016 - 15
American Cinematographer - June 2016 - 16
American Cinematographer - June 2016 - 17
American Cinematographer - June 2016 - 18
American Cinematographer - June 2016 - 19
American Cinematographer - June 2016 - 20
American Cinematographer - June 2016 - 21
American Cinematographer - June 2016 - 22
American Cinematographer - June 2016 - 23
American Cinematographer - June 2016 - 24
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American Cinematographer - June 2016 - 31
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American Cinematographer - June 2016 - 33
American Cinematographer - June 2016 - 34
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American Cinematographer - June 2016 - 36
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American Cinematographer - June 2016 - 38
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