This scene takes place in a basement apartment and was shot on a set at Kaufman Astoria Studios in Queens.  It was a cramped space that was made to seem all the more so by the limited shot selection used in the final cut of the film.  Find it at the 00:08:41 mark…             … Continue reading “LIGHTING DIAGRAM #9 – ISHTAR”

            For all the time, effort and emotion we put into our work, why is it that we so rarely address the archiving and restoration of our images?  With more than half of all films shot prior to 1950 lost to deterioration, misplacement or the trash bin, the situation demands immediate attention.  And if anyone … Continue reading “ARCHIVING AND RESTORATION”

            This scene was shot inside the Old Town Bar in Manhattan; it’s very simple but also very beautiful.  What interests me is seeing how Storaro used 650W 9-Light Fays; it was a procedure he would repeat time and again on the NY portion of the movie.  For the large amount of light in use, … Continue reading “LIGHTING DIAGRAM #8 – ISHTAR”

            It’s unfortunate that Preston Sturges – one of Hollywood’s first great writer\directors – is essentially forgotten by today’s audience.  There’s plenty of information to be found about him on the web, so I’ll just say that his unique voice spanned a checkered career that burned out way too early.  Nonetheless, he enjoyed a period … Continue reading “PRESTON STURGES’ 11 RULES FOR BOX OFFICE APPEAL”

            I still have quite a few Presumed Innocent charts to post but decided it was time to change things up a bit.  Fear not, however.  Eventually the entire catalog (as well as many others illustrating different examples of Gordon Willis’ work) will find their way onto the blog!             A second great learning period … Continue reading “LIGHTING DIAGRAM #7 – ISHTAR”

            Cinematographers have been called many things over the years, but prognosticator is probably not on the list.  Nevertheless, Leon Shamroy – a legendary ASC member if there ever was one – certainly qualified as a predictor of the future.  Based on what he said in the October 1947 issue of American Cinematographer, it’s amazing … Continue reading “TECHNOLOGY IS THE MEANS, NOT THE END – PART 2”

            Harrison Ford’s character Rusty Sabich has an illicit, after-hours rendezvous with colleague Carolyn Polhemus (Greta Scacchi) in her office; find it at 0:44:25…             This’s a really interesting example of single-source, indirect lighting (save for the 10K noted outside the window, the other units are inconsequential).  That the illumination in the room comes from … Continue reading “LIGHTING DIAGRAM #6 – PRESUMED INNOCENT”

            I recently watched two movies in quick succession, The Dark Corner (1946, photographed by Joseph MacDonald, ASC) and Odds Against Tomorrow (1959, photographed by Joseph Brun, ASC).  Both were film noir, black and white B-titles, pedestrian stories at best (though expertly crafted and thoroughly enjoyable).  What makes them worthy of comment is the undeniable … Continue reading “TECHNOLOGY IS THE MEANS, NOT THE END – PART 1”

            Harrison Ford’s character has a breakdown in the sun porch of his home as he recalls his mistress – who has recently been murdered.  Find it at 0:35:42…             A sharp eye will spot the discrepancy in exposure settings between these two shots – T5.6 for the first, closer one vs. T2.8 1\2 for … Continue reading “LIGHTING DIAGRAM #5 – PRESUMED INNOCENT”

            Anyone working as a freelancer knows that for all its freedom and exhilaration this life also comes with its share of challenges and frustrations.  When you’re suffering an extended period without work (quarantine?) or are stuck on a job or in a position you see as a dead end, do you roll with the … Continue reading “READ THIS BOOK #1”