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”

            Shelley Long’s character of Anna Crowley has hitched a ride home in the cab of a huge semi-truck.  Find it at 00:52:50 on the DVD…             Night\exterior, front lit by a single unit aimed directly at the subject from camera position…an unusual choice from one of the world’s greatest cinematographers.  But there was indeed … Continue reading “LIGHTING DIAGRAM #26 – THE MONEY PIT”

            Force of Evil (1948), is a great film noir that seems to have been unjustly forgotten.  Directed by Abraham Polonsky, it has an amazing cast and features a compelling narrative that’s stylishly told.  It’s also beautifully shot by George Clemens, ASC, who went on to become the principal cinematographer on the late ’50’s-early-60’s TV … Continue reading “THE POWER OF CRAFT ISN’T LIMITED TO CINEMATOGRAPHY”

            Here’s a good example of Gordon Willis’ use of the bay light.             This unit had been around the industry in a variety of configurations and names (‘coop’ lights, soft boxes, etc) for decades until he saved it from obscurity during the shooting of The Godfather in 1971.  Find this scene at the 0:32:06 … Continue reading “LIGHTING DIAGRAM #25 – THE MONEY PIT”

            I’ve always been of mixed mind regarding zoom lenses, though there’s no longer any reason to be that way.  It probably goes back to my early training when their optical quality fell short of primes and cinematographers regarded them warily.  For a long time zoom choices were limited – the 1970’s and ’80’s workhorses … Continue reading “ZOOM IN ON THIS…”