A simple scene across a desk – with many cuts.  Warren Beatty’s Lyle Rogers and Dustin Hoffman’s Chuck Clarke visit the U.S. Embassy in the fictional Middle Eastern nation of Ishtar.  Find it at the 00:28:41 mark…             What’s notable in this diagram is a technique that has appeared in several earlier instances: Storaro’s … Continue reading “LIGHTING DIAGRAM #31 – ISHTAR”

            This post originally appeared in my Presidents Desk column in the May 2014 issue of American Cinematographer magazine.  It marks the seventh anniversary of the passing of camera assistant Sarah Jones on February 20, 2014 and is as relevant now as it was then.             While details surrounding the death of second camera assistant … Continue reading “REMEMBERING SARAH JONES”

            Picking up where I left off last September with the thread on Elaine May’s Ishtar (1987)…             This scene between Dustin Hoffman and Warren Beatty takes place on a high ledge of a Manhattan apartment building.  The first photograph illustrates how it played out with the stuntmen.  For the primary action however, a scaffold … Continue reading “LIGHTING DIAGRAM #30 – ISHTAR”

            Last Tuesday’s post gave hell to the industry’s endorsement of abusive working hours.  Now I’ll try to answer why the situation exists as it does.             In the United States the majority of film crews put in draconian amounts of time on the job.  This’s not only approved of by the producing entities, it’s … Continue reading “ABUSIVE WORKING HOURS #2”

            The simplest of day\exteriors…  Tom Hanks is about to set off a chain of events that will wreck the backyard landscaping of his dream home.  Find it at the 00:34:14 mark on the DVD…             This approach was similar to most every day\exterior situation we encountered on the job.  Willis used the 6K HMI … Continue reading “LIGHTING DIAGRAM #29 – THE MONEY PIT”

            This may seem a strange topic for a period in which the film industry is running far below its capacity, but what better time to tackle such an important issue?             “Our responsibility is to the visual image of the film as well as the well-being of the crew.  The continuing and expanding practice … Continue reading “ABUSIVE WORKING HOURS #1”

            This scene was shot at night and set in front of the huge Lattingtown, Long Island house that was used for most of the exterior work.  Find it on the DVD at the 01:07:29 mark…             The car that delivers Tom Hanks’ character of Walter Fielding was an old Volkswagen Beetle decked out in … Continue reading “LIGHTING DIAGRAM #28 – THE MONEY PIT”

You probably have no idea who George M. Cohan (1878-1942) was, but he remains one of the greatest talents ever to appear in show business.  Don’t just rely on the Wikipedia entry for background on his life and career.  Check out Yankee Doodle Dandy (1942; Michael Curtiz\James Wong Howe, ASC) to see James Cagney’s portrayal … Continue reading “GEORGE M. COHAN WAS A VERY SMART MAN”

            Day\Exterior…  Tom Hanks’ character of Walter Fielding has set off a Rube Goldberg-like chain of destruction at the renovation site of what is to be his and his wife’s dream house.  Find it at 01:01:29 on the DVD…             Notice Willis’ use of the Molefay Par 9-Light (fay light) for fill.  The 9-light fay … Continue reading “LIGHTING DIAGRAM #27 – THE MONEY PIT”

            There are those who claim we’re all actors in some way, but I don’t know the first thing about how to do it.  I love actors and recognize a great performance when I see one; I’ve also been privileged on many occasions to have witnessed deeply moving efforts from just a few feet away.  … Continue reading “MORE ACTOR AMAZEMENT”