PRODUCTION CAUGHT STEALING
“I wanted the film to feel how I remember walking the streets of New York in the 90s” DOP Matthew Libatique sits down with Definition to discuss Caught Stealing – his latest collaboration with Darren Aronofsky
WORDS OLIVER WEBB IMAGES CTMG & SONY PICTURES ENTERTAINMENT
S et in New York City in 1998, and living in a seedy apartment block, Hank is tasked with looking after his neighbour’s cat and soon finds himself caught up in the criminal underbelly of New York. The film was captured by DOP Matthew Libatique. 1998 also marked Libatique’s first feature collaboration with director Darren Aronofsky, with mathematician thriller Pi . Having shot all of Aronofsky’s feature films to date, with the exception of 2008 film The Wrestler , Libatique Caught Stealing follows former baseball player Hank Thompson (Austin Butler). Now a bartender
was the natural choice for Caught Stealing . When it came to their initial conversations about the look of the film, discussions revolved around camera movement. Libatique opted for the Sony VENICE 2 due to the ergonomics of the camera and the ability to access and capture small spaces. He also relied on the DJI Ronin 4D 8K, as well as two sets of Bausch & Lomb Super Baltar lenses rented from DOP Ed Lachman. “Darren felt the need for smaller cameras,” begins Libatique. “I was working at 3200 ASA, because the Sony VENICE 2 is a really sensitive camera. One might think that doesn’t require
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