Goals for the Cinematography: Part 1

My primary goal for the cinematography of the film is to create an atmosphere that sustains a level of tension and ambiguity that keeps the viewer wondering and guessing throughout the course of the film what the outcome of the 'situation' will be. I want to do this through a modern and refined version of what I have seen in many of the traditional Noir film, such as The Maltese Falcon (Huston, 1941) and Murder, My Sweet (Dmytryk, 1944). My number one touchstone for this modern noir look, referentially  is Wim Wenders' The American Friend (Wenders, 1977), which itself is somewhat of a homage to Noir films. The film has a long and complicated plot, which really provides the backdrop for the films characters to shine over. The film practically sustains itself on atmosphere for the entirety of its running time and it is this ability to but atmosphere before plot that I want to emulate. Although subtle compared with the 'traditional' noirs of the 40s and 50s, Robby Müller's cinematography creates a lonely, cynical and dark world which is perfect for our set-up.
I want to make no mistakes when planning each shot, I want everything in frame and the angles and compositions to be the product of total construction rather than coincidence or luck. It is important for me to have my and Ben's (director) intentions come out and not be misinterpreted. The way the shots will lead into another will be from a collaboration between myself and Henry (edit) so that we are both on the same wave-length in terms of how the scene progresses and how the tension ramps, this will be very carefully throughout.
I want to make use of light, not just in the construction of the world but also in terms of character construction i.e. light/dark good/bad. Having the characters move in and out of light could also provide away of showing how the situation is progressing, helping with tension management.

Old Days

I will be working on the project 'Old Days' (working title) as cinematographer. The film is about Harry, an ageing and retired career criminal who is put in the uncomfortable position of having the police find evidence of an old crime against him and are pressuring him to tell of the rest of the illegal operation he was involved in, in exchange for a lighter sentence. Harry just wants to live the rest of his days out with his family in peace. He visits Michael, the head of the operation for help, however, Michael might see other ways of stopping Harry's problem, perhaps at the expense of Harry himself. It is this scene, between Harry and Michael that will be the film's 'setting' as it were. Set in a cafe/bar type establishment, the audience will learn of Harry's hopes and problems and Michael's motives, and tension shall be grown from this situation. 

We, as a group, working on the film also have ambitions to lay onto the project certain themes which will come out through the story and the film's formal elements. The contrast between old and new, specifically that of tradition and 'old values' compared with modern day norms and values will be the overriding theme of the film. 

Through discussion with Ben (Wilson), the director of the film, we have decided we want to create a cold and noir-esque setting for the scene in order to reflect a modern world that is cynical and is more obsessed with business and money than that of connections between people and loyalty. Michael's 'hangout', where the film takes place, will be a place that reflects this. Through lighting and angle I want to make the 'hangout' a place where nobody would feel safe, no matter their history or connections. It is through this almost hostile nature of the world Harry finds himself in will we be able to create tension, to keep the audience guessing about what is going to happen to Harry.