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The source above, created with 106 Spot Par lamps configured around a prop tree piercing through the cavern roof, played off the cavern’s dark walls, which were flecked with green. “We played with water on the surface of the rocks to get some reflections and kept the water in the bottom of the cave moving to add interest,” says Buckley. “The DI also helped us, in that we didn’t have to cut things as carefully as we would have otherwise had to. Instead of us bringing in a lot of black solids to cut a wall while 200 people waited, Chivo could just use Power Windows [to create the effect] later. Our biggest problem was that at one point, the tree started to melt! Mike Gunderson had to step in to shore that up.” As Snicket wound down, Lubezki had to leave the production to honor a previous commitment, Terrence Malick’s The New World. But before he left, he brought aboard Robert Yeoman, ASC, who worked closely with Buckley to complete another few weeks of shooting, primarily on the expansive harbor set at Downey. “I’d made a commitment to Terry long before I came aboard Lemony Snicket,” says Lubezki. “I made it clear to Brad when he offered me the film that I would have to leave by a certain date, and unfortunately, we went over schedule because of the film’s complexity. Brad was very supportive and did his best to work things out, but the time finally came when I had to go. That’s when Bob Yeoman came in, and we were lucky that the change came at a point that was a natural break — we were just beginning to shoot on a new set. I had not yet established the look of it, which allowed Bob to do so. He and I were able to work together for a few days, which was great. “Technically, Lemony Snicket is the most complicated film I’ve done, not only because of the size of the production, but also because of the sets and the complications with the cast and schedule,” he concludes. “But I was very impressed by how visually oriented Brad is, by how interested and hands-on he gets. He always considers the framing and the colors and the mood of the scene. He has great instincts, which made the picture a lot of fun for me.”
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