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“For the underground mine, my search first led to Goya,” he states.“But while there’s beauty in the tragedy of his dark images, there’s no hope—and this film is about hope, so I wound up deciding on Caravaggio for a gorgeous, soul-searching single light source.“Since all the exterior scenes had to reflect a ticking clock aspect—that these people down there will die unless we can do something—she decided on a mostly handheld approach that conveyed everyone’s tension over the fate of the loved ones below.There’s no sense of time passing down in the mine, no light changes owing to the sun rising or any other cues, so my camera reflected that with stillness, an almost obsessive lack of camera movement, supplemented by smooth slow dolly and Technocrane moves and a little Steadicam.Varese’s past credits include a slew of music videos, as well as pilots for depicts the harrowing 69-day ordeal of the men trapped in the collapsed copper-gold mine in Chile’s Atacama Desert.Among the many challenges faced by cinematographer Checco Varese, ASC, was how to light the darkest place on Earth, as well as the brightest. “Nothing is gentle or feminine in the mining industry—every component can break your foot or rupture your eardrums,” states Varese, “so working with a talented female director was really terrific for this kind of material and brought a human perspective to the disaster.” Though life in mines has been the subject of some previous films—Martin Ritt’s (lensed by DP Ousama Rawi, BSC, CSC) come to mind—Varese discovered most pictures dedicate precious little screen time to depicting that environment.retells the desperate plight of the men trapped in a collapsed Chilean copper-gold mine for 69 days in 2010.Abandoned and left to slowly die by their employers, the men—united by fellow miner Mario Sepúlveda (Antonio Banderas)—band together to persevere.
I spent an hour looking around using just my helmet light, then turned that off and spent 15 minutes in total darkness, during which time my heart was going 120 and my brain was screaming, ‘Get me out of here right now!
“You can’t just hang a light; instead, a miner comes in with a big drill while everyone else leaves.
He uses a nail gun to shoot rebar inside the rock, hoping there isn’t a collapse, and you hang the light from that. The exhaust from gennies will kill everyone, so we had to cable everything.
That would be a big enough undertaking in the States, but for Colombia, which is developed, but without a major film industry, it became a huge deal to cable 2½ miles within the mine.
My gaffer David Lee and the local crew took four weeks to set that up.” Varese designed a lighting plan that reflected changes to the environment, as well as the trapped men’s emotional states.
For the aboveground scenes of crowds under the intense Atacama Desert sun, I recalled my background as a news cameraman, which by heart I still remain.