American Cinematographer - December 1970 - 76

"FIDDLER ON THE ROOF"

SHOOTING MOTION IN THE

OVER-NITE

SAN FRANCISCO
BAY AREA?

Continued from Page 1211

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to be done. We won't have a very long
editing period, which is unfortunate
because I'm notoriously slow in that
area. We have two editors on the film
and they have been doing some rough
cutting. I tried to edit a sequence last
week and just couldn't do it. I find that
it distracts me too much, so I'd much
prefer to finish shooting the picture and
tackle the fine editing afterward."
In view of the hue and cry being
raised in certain quarters relative to
so-called "runaway" production, I ask
him if, in his opinion the advantages of
shooting in a distant location such as
this outweigh the extra time, trouble
and expense involved.
"Absolutely!" says he, most empha¬
tically. "In trying to recreate the world
of Sholem Aleichem and bring it to life,
it would have been doing him and the
property a great injustice had we not
searched all over Europe to find exactly
the right settings, the right villages, the
right atmosphere and the Chagall-like
quality that the film must have. We've
come as close to it as possible right here,
without actually going into the Ukraine.
I just didn't want to start negotiating
with the Russians again. I went through
all that when we were filming 'THE
RUSSIANS ARE COMING!' and after a
year of negotiations, they said, 'Not this
year.' I think we have found a really
remarkable setting right here in Yugo¬
slavia. We all feel that we are very close
to the way life was lived in such a village
at the turn of the century. It's inspiring
to the actors and stimulating to all of
us."
Of the Earthy-Earthy . . .

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Dinner break is called around 9:30
p.m. We wend our way up the hill,
through the village of Anatevka to a
clearing behind the synagogue where
two large commissary tents have been
set up and food is being served from
mobile catering kitchens. It is good,
wholesome country fare-the kind that
"sticks to your ribs"-and very welcome
on a near-Arctic Yugoslav night such as
this.
I eat dinner with Ossie Morris and his
crew, which gives us a chance to talk
about the photographic aspects of
shooting "FIDDLER".
"Norman Jewison and I had long
discussions before we started this film as
to how we would like it to take shape
visually," he tells me. "I had never met
him before, or he me-so we were two
strangers, you might say. We had to
break this barrier down and I think

AMERICAN CINEMATOGRAPHER, DECEMBER 1970
American Cinematographer - December 1970

Table of Contents for the Digital Edition of American Cinematographer - December 1970
