The Astronaut Farmer

[David Mullen ASC]

The Reuters write-up gives the nod to the cinematography. That doesn't happen every day.

"Cinematographer M. David Mullen does wonders with New Mexico's light and dazzling sunsets, evoking the romance and bleakness of the Southwest."

 

Though most of the reviews don't mention me, I came across two references.

 

Premiere Magazine's review said:

"Of course, Texas doesn't usually look as gorgeous in reality as it does through cinematographer David Mullen's lens, either. These movie-manufactured qualities are keys to serving the story."

 

And the Austin Chronicle said:

"Shot in stunning widescreen by the Polishes? longtime cinematographer, M. David Mullen, Audie and the others are frequently backlighted to achieve that certain heavenly glow."

[James Steven Beverly]

I am SOOO looking forward to seeing this movie. They run ads for it all day long now and I actually stop what I'm doing to watch them again and again. This should be increadible. B)

[Matthew Buick]

David...I think you've just hit the big time. :)

 

There aren't actually any TV adverts for it here in the UK, but I will see this in the cinema as soon as possible...

 

...or I'll buy a pirate copy...HA HARRR!!!! :D

[Jamey Johnson]

Flipping through the channels today, I caught a story on Astronaut Farmer on Univision. There was footage from the movie, an interview with Billy Bob Thornton, and footage from on set. The on set footage showed David Mullen ASC sitting watching a couple monitors.

[Paul Bruening]

Hey David,

 

Just saw it tonight. Well done, Sir. I feel honored to have even exchanged jests with you. My mother-in-law was mightily impressed that I "knew" someone that she had just seen their name on the big screen. My wife, who has a good eye, was impressed with your work as well. The opening shots in the title sequence just knocked my eyes out. I was fortunate enough to see it on a huge, bent screen with stadium seating. The theatre also had a massive sound system and the roar of the rocket engines rattled my whole body in a delightful way. Again, congratulations on a fine work!

[Sam Kim]

Saw the film yesterday and enjoyed the cinematography. I had no idea it was Texas but it sure made me want to go there. The magic hour, beauty shots were right on and I couldn't help but think that all the lighting accented and helped the story very nicely.

 

You make an awesome contribution by being on this site so much.

 

Is anyone else on this site ASC?

 

Though most of the reviews don't mention me, I came across two references.

 

Premiere Magazine's review said:

"Of course, Texas doesn't usually look as gorgeous in reality as it does through cinematographer David Mullen's lens, either. These movie-manufactured qualities are keys to serving the story."

 

And the Austin Chronicle said:

"Shot in stunning widescreen by the Polishes’ longtime cinematographer, M. David Mullen, Audie and the others are frequently backlighted to achieve that certain heavenly glow."

Edited February 25, 2007 by Sam Kim

[David Mullen ASC]

Thanks for taking the time to see it.

 

We've had some major cinematographers post here now and then (Rodrigo Prieto, Remi Adefarasin, for example). I started posting here way back in 1998 or so, I think.

[Sam Kim]

Thanks for taking the time to see it.

 

We've had some major cinematographers post here now and then (Rodrigo Prieto, Remi Adefarasin, for example). I started posting here way back in 1998 or so, I think.

 

 

What makes you guys want to though? I love that you give back but why?

[David Mullen ASC]

I love cinematography, I love discussing it, and I love teaching it.

[Sam Kim]

Is there anything you recommend to those who want to practice it but don't have the big bucks to get all the fancy lights and equipment?

 

I love cinematography, I love discussing it, and I love teaching it.

[Patrick Cooper]

"Is there anything you recommend to those who want to practice it but don't have the big bucks to get all the fancy lights and equipment?"

 

Umm....maybe super 8?

 

I look forward to seeing 'The Astronaut Farmer' too. I'm still waiting to see where and when it will be screening in Australia.

[David Mullen ASC]

It's funny as you start doing bigger and bigger movies, people think forget the years you spent doing tiny films with low, low budgets and short schedules.

 

I spent about a decade shooting nothing but Super-8, from the time I was 15 or so, until I was in my mid 20's. I had one 650w tungsten halogen movie lamp that I found in a garage sale for $5 (later when the bulb burned out, I found out that the replacement bulb was $25...), and a bunch of hardware store reflector dishes and household and photoflood bulbs, and some Chinese Lanterns. And a bunch of white bounce cards.

 

I spent years working with these, doing my own short films in Super-8, silent except for a music track I played in loose sync by hitting the tape deck when the picture started.

 

So that's how I learned, other than by reading books and magazines, and watching movies.

 

Later in my mid 20's, I got to rent an Arri-S and shoot a little 16mm, just before I was accepted into the graduate film program at CalArts. There I had access to a bunch of tungsten lamps, 2K and under. At some point, the students I was shooting for started renting 1200w HMI lights for some short films in 16mm, or getting student deals on such equipment. Towards the end of my time at CalArts, I was doing short films with a generator that allowed me to use an occasional 6K HMI and some big tungsten lamps.

 

I've also done many video EPK shoots (infomercials too) using basically a video light kit (often a suitcase of Arri's or Lowel's) augmented by a few Kinoflos and small HMI's, depending on the budget.

 

I've done at least three features with a minimal lighting package, just a few Kinoflos and small tungstens and no generator.

 

But basically starting with film school, my equipment has always been rented or borrowed, and always someone else was paying for the rental.

 

These days, if I were starting out, I'd probably shoot both Super-8 but combine it with some 24P DV shooting as a learning tool. For the Super-8, I may just stick to reversal stocks and splice and project the original, rather than spend the money on telecine, if all I'm really trying to do is learn filmmaking and cinematography. For projects where I wanted to learn computer editing and also shoot sound movies, I'd probably use DV for practice.

[Matthew Buick]

These days, if I were starting out, I'd probably shoot both Super-8 but combine it with some 24P DV shooting as a learning tool. For the Super-8, I may just stick to reversal stocks and splice and project the original, rather than spend the money on telecine, if all I'm really trying to do is learn filmmaking and cinematography. For projects where I wanted to learn computer editing and also shoot sound movies, I'd probably use DV for practice.

 

Would Hi8 suffice as 24P DV, I already have Super 8, and am looking for some cheap video setup.

[Matt Irwin]

Hey David,

 

Just saw The Astronaut Farmer tonight and wanted to say-- fantastic work. Congratulations!

[Brad Grimmett]

I saw The Astronaut Farmer earlier tonight, and boy was I impressed! Nice work David! Not only did I really enjoy the film, but the cinematography was really top notch. I loved the silhouettes and the anamorphic flares, and the sunsets were gorgeous. One particular shot I loved was the crane shot that rose above the lights at the carnival where there were many different flares hitting the lens all at once....it was right up my alley. I expected to like both the film and the cinematography, but was happily surprised to find that both were better than I had hoped.

Great job David.

[racso]

Mr. Mullen,

 

Bravo, sir. I watched this a few nights ago, and was overwhelmed by the majestic exhibit of light and vistas you brilliantly displayed. Absolutely dazzling, sir. Its work such as yours that make us Indies strive to be better, leading the pack by inspiring us with your talents.

 

Many, many thanks for your hard work. Beautiful job.

 

Sincerely,

Christopher Allen

RACSO Motion Pictures

[Mark Dunn]

This film is getting a lot of discussion on model rocketry newsgroups ( another interest of mine) and what people comment on, besides the technical accuracy and so on, is how GOOD it looks. I can't wait.

[Matthew Buick]

Does anyone know whether this film has been released to the movie going public in the UK yet????

 

I'm climbing the walls waiting to see it. :D

 

I can see you there next oscar night, just try not to drop the statue when you win it, they are fairly valuable y'know.

[Max Jacoby]

It won't get released in March over here, so April is a good bet.

[Matthew Buick]

SIGH! :(

[Jamey Johnson]

I think you'll find that "Astronaut Farmer" is not as painterly or lyrical as "Northfork"

 

 

Finally got to see it last night. The whole thing was amazing. I thought it was just as beautiful as "Northfork". They're just two completely different movies with two different temperatures.

 

I know you've posted about the setup for the gymnasium scene, but what did you specifically do to get the diffusion look for the glass of water and pitcher for that scene? Was it intentional?

 

Also, did you shoot the shopping cart in the parking lot of the supermarket? My girlfriend and I literally laughed out loud when it came on screen. It was so simple, humourous, and nice looking.

[Matthew Buick]

some Chinese Lanterns. And a bunch of white bounce cards.

 

By Chinese Lanterns do you actually mean the festive paper lanterns? Or is that another term for a Space Light? And may I ask just what you mean by White Bounce Cards?

 

I was thinking of purchasing a SAD Seasonal Ajustment Disorder Lamp, as my Grandma now has one, and I enjoy the bright white light.

 

Is there any film light that can mimic this for about $400.00 that pumps out about 10,000 Lux?

 

Best Regards - Matthew Buick. :)

Edited March 11, 2007 by Matthew Buick

[David Mullen ASC]

I know you've posted about the setup for the gymnasium scene, but what did you specifically do to get the diffusion look for the glass of water and pitcher for that scene? Was it intentional?

Also, did you shoot the shopping cart in the parking lot of the supermarket? My girlfriend and I literally laughed out loud when it came on screen. It was so simple, humourous, and nice looking.

 

The gym scene was shot with smoke and a #1 GlimmerGlass diffusion on the closer shots.

 

That exterior supermarket shot was done by second unit (Phil Pheiffer DP / Mark Polish director). We had scouted it and storyboarded it, but the drifting shopping cart was probably Mark's idea.

 

Matthew, Chinese Lanterns are the basic white round paper lanterns you can get at import stores like Ikea. White bounce cards are just white poster board, illustration board or foamcore from any art supply store.

[Jamey Johnson]

For anyone interested, I found this article about the beginning and end sequences of the movie:

 

http://www.vfxtalk.com/forum/showthread.php?t=9466

[Ken Cangi]

I finally had the pleasure of watching this film on DVD last night. Congratulations to the Polish Brothers and David Mullen. The story was excellent, the messages were refreshing, and the cinematography was beautiful. I look forward to your next collaboration.