Making ‘Breaking’ Beautiful
Breaking and Entering, a new film from writer and director Anthony Minghella, opens in the UK on 10th November, and in the US on 8th December. The film stars Jude Law, Juliette Binoche and Robin Wright Penn, and is produced by Minghella, Tim Bricknell and Sydney Pollack, with Cinematography by Beno?‚àö√út Delhomme. Framestore CFC created the film’s digital mastergrade.
Anthony Minghella’s film is conspicuously thoughtful and civilized as it provides a close-up snapshot of particular aspects of life in London at this moment.
Anthony Minghella’s first film since the acclaimed Cold Mountain (2003) sees him returning to the UK for an engaging and complex portrait of the way we live now. Both Minghella and his Cinematographer, Beno?‚àö√út Delhomme, have brought their work to Framestore CFC’s Digital Lab before, Minghella with Cold Mountain, and Delhomme with the recent dark, Australian western, The Proposition.
Will (Jude Law) and Sandy (Martin Freeman) run an architect’s practice in King’s Cross. After their office is repeatedly broken into, Will resolves to catch the intruder. But when he follows the thief back to his home, Will finds himself gradually becoming intensely involved with strata of society of which he was barely aware.
Beno?‚àö√út Delhomme’s cinematography makes major contributions in turning the ominous streets, row flats and enormous construction sites into a living, breathing character.
For a film set in contemporary London, which concerns itself with the lives of a broad range of the city’s residents, a subtle approach was called for. Digital grading gives filmmakers a much higher degree of control over delicate adjustments like those required on Breaking and Entering. “The sort of subtle look that Anthony and Beno?‚àö√út were looking for can be tricky,” says Adam Glasman, Framestore CFC’s Head of Digital Grading, “A more extreme grade gives you greater latitude. Much of our work on Breaking and Entering involved quite fine tuning.”
Glasman worked closely with Delhomme over the three week grading period, with Minghella monitoring the process. “I lit the film with the idea of showing two different worlds in London,” explains Delhomme, “The multicultural city inhabited by Amira (Binoche) and her son, lit with a saturated large palette of colours, especially for the night scenes; and the Primrose Hill world, seen, as it were, through the eyes of the young autistic daughter of Liv (Robin Wright Penn) – lit in cold white, beige, and with soft contrast.”
The cinematographer is enthusiastic about his time spent at Framestore CFC. “Perhaps because it was a new style for me, I took a real pleasure in working with a muted palette in the grading suite, doing subtle adjustments,” says Delhomme, “It was great to work with Adam Glasman again.”
Breaking and Entering Credits
Director Anthony Minghella
Producers Tim Bricknell, Anthony Minghella, Sydney Pollack
Cinematographer Beno?‚àö√út Delhomme
For Framestore CFC
Colourist Adam Glasman
Producer Maria Stroka
Senior Producer Claire McGrane
Executive Producer Jan Hogevold
Digital Assembly Brian Krijgsman, Steve Wagendorp
Scanning and Recording Manager Andy Burrow
Film Recording Supervisor Dan Perry
Scanning and Recording Joe Godfrey, Paul Doogan, Jason Burnett
Digital Clean Up Annabel Wright, Adam Hawkes, Stuart Nippard, Aaron Lear, Oliver Deen, Lynddall Spagnoletti, Nick Stanley
Data Operators Charlie Habanananda, Maria Michalopoulou
Film Mastering Engineer Alistair Hamer, Kevin Lowery