An in-depth exclusive interview with cinematographer MARTIN RUHE talking about light and lens and working once again with George Clooney on THE TENDER BAR.
It’s become an annual event for MARTIN RUHE and myself as we catch up via Skype to chat about his latest and greatest film of the year. During the 2021 holidays, it was to talk about THE TENDER BAR, the most recent collaboration between Martin and director George Clooney. With THE TENDER BAR their fourth collaboration after The Midnight Sky, The American, and on Amazon’s Catch 22, for which Martin received an ASC Award nomination, and the pair now working on a fifth film together, The Boys in the Boat, it’s clear that there’s magic in the air whenever Martin and George get together or, as Martin says, “It’s like a family. [There’s] so much trust.”
And with THE TENDER BAR there is indeed magic.
Based on the Pulitzer Prize-winning author J.R. Moehringer’s memoir of the same name, THE TENDER BAR is the story of J.R., a fatherless boy growing up in the welcoming warmth and wonder of the local bar, The Dickens, owned by his Uncle Charlie. Under Uncle Charlie’s tutelage and guidance, as well as that of Charlie’s best friends and surrogate uncles Chief, Joey D, and Bobo, J.R. gets an education about life and love. With his mother determined for J.R. to have all the opportunities she never had and move upward in the world, we watch as J.R. grows up, heads to college, and out into the workforce filled with dreams of his own, while always staying grounded in The Dickens and the neverending love and support of Uncle Charlie and his friends. Directed by George Clooney with script by William Monahan based on J.R. Moehringer’s memoir, THE TENDER BAR stars Ben Affleck, Daniel Ranieri, Tye Sheridan, Christoper Lloyd, Lily Rabe, Max Casella, Matthew Delamater, Michael Braun, and Max Martini.
Set in 1972 Long Island and spanning 10 years into the future, lighting and production design were the key primary elements to start with to develop a visual tonal bandwidth. With Boston substituting for Long Island during the shoot, Martin worked with that specific East Coast light as a base for then creating a warm, intimate tone laced with nostalgia. With very distinctive locations, most notably The Dickens Bar which was built on a soundstage for total 360-degree control, as well as J.R.’s home with his grandfather, a college dorm, elementary school cafeteria, a period-perfect bowling alley, and some fun-filled exteriors at the beach or riding around in Uncle Charlie’s mint condition convertible, Martin was faced with some interesting challenges.
Collaborating with production designer Kalina Ivanov on a color palette and in the design of The Dickens as well as J.R.’s 1940’s/50’s style home with narrow hallways, small rooms, and required aging and “patina”, Martin elected to shoot with the Alexa Mini and use Cooke S4 and Angenieux Optimo Lightweight Zoom lenses. The resulting visual tonal bandwidth has a warmth that is welcoming. Lighting is East Coast period-perfect. And but for travelling shots in the car or end credit beach scenes, framing is kept at mid-shot or mid-two shot focusing on the mother & son “Two Musketeer” vibe that carries through the film, as well as that of Uncle Charlie & J.R., enveloping the characters and the audience in a welcoming warmth.
As Martin and I dug into his process for THE TENDER BAR, it was apparent from the start that this story had to focus on the characters. Clooney wanted a film that was “warm and heartfelt” and in order to achieve that, they had to be “honest and intimate and close to our actors.” Inspired by the works of several photographers as reference, Martin used as much practical light as possible and went a little bit warmer to capture the period look. Zoom lenses were also important in key locations like J.R.’s house and in the bowling alley.
With talk of working with young Daniel Ranieri and how that impacted shooting, as well as Ben Affleck, himself an accomplished director, Martin was generous not only with his time discussing the technical and aesthetic aspects of shooting THE TENDER BAR but his respect and praise for director George Clooney and the entire cast and crew.
TAKE A LISTEN. . .
by debbie elias, exclusive interview 11/23/2021
