Adolpho Veloso: capturing memory, naturalism in Train Dreams

The Cinematography Podcast Episode 346: Adolpho Veloso, ABC, AIP

The film Train Dreams tells a story that feels less like a narrative and more like a memory. It began as an independent project that premiered at Sundance to critical acclaim before getting acquired by Netflix. Director Clint Bentley and cinematographer Adolpho Veloso, ABC, AIP, chose to shoot in the rugged landscapes of the Pacific Northwest. Veloso’s radical commitment to naturalism in the film meant relying almost entirely on firelight, candlelight and natural light. The gorgeous result has earned him an Academy Award nomination for Best Cinematography.

After their successful collaboration on the low-budget indie movie Jockey, Veloso and director Clint Bentley knew a tiny crew and small group of actors could lead to good, intimate storytelling. They developed a specific visual shorthand designed to make Train Dreams feel like a discovered artifact. They chose a 3:2 aspect ratio, a deliberate nod to still photography, intended to evoke the sensation of looking through a dusty box of old family photos. “We wanted the movie to feel like memories, like finding a box of pictures,” explains Veloso. “The whole visual motif came from still images and still photography in a way.”

Using a single, handheld ARRI ALEXA 35 camera operated by Veloso allowed the actors freedom to improvise and move naturally, often capturing moments that a more rigid, multi-camera setup would have missed. To maintain a clear narrative thread through Robert’s (Joel Edgerton) life, Veloso established visual rules using specific lighting shifts to distinguish between the warmth of Robert’s good memories and the starker, haunting quality of his loss.

Grounding the film in nature was extremely important. The team scoured Washington state, looking for woods that appeared untouched by time, yet remained accessible enough for a film crew. They shot around the Spokane area, where the drier weather and specific light quality offered the perfect backdrop for the film’s mid-century setting. Working in national forests meant strict regulations with a small footprint, and timber cutting and axe work was carefully planned.

Using almost entirely firelight, candlelight and natural light is very nontraditional filmmaking, and required a great deal of planning from all departments. For the two sets, the cabin and fire tower, Veloso spent weeks tracking solar orientation. The crew carefully built the cabin to exact specifications to allow plenty of light into the space. “You have the privilege to build it the way you want,” Veloso explains. “It’s a lot of studies of what the sun is doing from week one to week seven. You have to decide where to place the windows so the light continuity holds as the seasons shift.”

The most interesting technical choice was the total ban on LED lighting for period scenes. Veloso wanted the authentic flicker and color temperature of the era, but candles alone often create harsh, distracting shadows. To solve this, the team engineered a “1920s Sky Panel.” This custom rig used large reflective surfaces combined with candles and diffusion to create a soft, glowing light source that felt period-accurate yet flattering on the actors’ faces. This required a constant dance between the camera and the art department. Candles, oil lamps, firelight, and campfires had to be good quality light to expose the image properly. For campfire scenes, the gaffer measured light levels in real-time, signaling the fire safety monitor to add wood precisely when the “exposure” needed a boost.

A devastating forest fire at the film’s climax required a shift from the naturalistic to the surreal. To capture the flames and feeling of a real forest fire, the production moved to an LED volume stage. Robert is dreaming about what happened in the fire, so the fire scene had to be strange and surreal. Veloso shot at a low frame rate with a wide shutter to create a blurred, fever dream aesthetic. The crew also shot in previously burned forests, capturing the aftermath of a real fire.

Through Veloso’s lens, Train Dreams is a tactile, flickering meditation on time itself.

Find Adolpho Veloso Instagram: @adolphoveloso

Watch Train Dreams on Netflix

CAMERAS: ARRI Alexa 35, 3:2 aspect ratio

LENSES: Zeiss Super Speed mkii, Kowa Cine Prominar, Angenieux Zooms

Close focus: The new Academy Award for Achievement in Casting will be presented at this year’s Academy Awards.

Ben’s short end: The Adventures of Cliff Booth, an upcoming movie directed by David Fincher, written by Quentin Tarantino and cinematography by Erik Messerschmidt, ASC.

Illya’s short end: Good Luck, Have Fun, Don’t Die, directed by Gore Verbinski, comes out this Friday, February 13.

Help raise money for The Ultimate Breakup, a zombie short film Ben will be directing in March! Contribute to the Kickstarter campaign!