American Cinematographer - December 1970 - 77

we've done so very successfully.
"From our first meeting we were
both in complete agreement as to how
the film should look. The only problem
was how to get that look. We made a
series of tests and experiments, some of
which were successful and some not. We
were trying to create an unusual style.
On each new picture I try to think of
something different to do, because I feel
it's much more exciting if one can think
of a new idea, a new approach. I believe
we've managed it on this picture, but
we'll have to wait and see if anyone else
agrees on that."
I ask him what governed the choice
of photographic style and specifically
what mechanics have been employed to
achieve it.
"We've wanted to get that sort of
earthy feeling of the land into this
picture," he replies. "The families por¬
trayed live so close to the soil that it's
unbelievable-as, indeed, the families
right here on the Yugoslav countryside
do. I mean, if there is a failure with the
harvest, or something like that, it really
is disastrous. We've been trying to get
that feeling into the picture, without
letting it look dull.
"One must never lose sight of the
fact that we are making a musical and
that there are certain pre-sold formulas
which musicals are expected to follow.
This I understand perfectly. However,
that doesn't mean that one can't try for
something a little bit different. In this
case, we're attempting to combine the
requirements of the musical film form
with an absolutely honest realism based
on the lives of these people.
"I suppose I could sum it up more
simply by saying that both Norman and
I would like to feel that the members of
Tevya's family-the people portrayed in
the story-are really making this picture
themselves. They've bought a small cam¬
era, and they've probably got a little
cart they can use for making simple
dolly and tracking shots. They wouldn't
have a zoom lens-I shouldn't imagine
they could afford one-but they would
keep things basically simple and very
honest, because they'd know no other
way of approaching it. Since it's their
lives we're depicting, we've tried to use
the same approach and I think, that
within that context, we're getting some¬
thing quite exciting."
I have to stretch my imagination a
bit to visualize someone making a home
movie with a Panavison Silent Reflex
camera, but, despite the anachronism, I
do grasp the analogy and appreciate the
aura which he is attempting to create by
means of his photography.

Handiola MARK II
with Kalart
4x6 Viewer

THE PROFESSIONAL

I6mm HANDIOLA™ 8mm

DOUBLE SYSTEM EDITOR and ACCESSORIES
HANDIOLA-a professional precision-engineered film/tape
mechanical interlock editing unit. All components are finest
obtainable. New non-iriertial system gives the editor unique
control and "feel" of work he is cutting. Ideal for Schools and
Colleges, Producers, Editors, In-Plant, etc. No breakdowns; no
high repair costs. Will not damage film. Accessories available
as required. Send
for catalog sheet,
prices. Full 1 year
warranty on every
HANDIOLA prod¬
uct.

COMMUNICATIONS, CORP.
132 West 43rd St., New York, IM.Y. 10036

You perform like
rofessional.

Meet the lab
that treats you
like one.
Photo Processors Inc., was established on the
simple philosophy that a service-type industry,
wherever located, can attract a national and
even international clientelle if it furnishs pro¬
fessional excellence in its product in a fraction
of the usual in-shop production time (at no
extra charge). We are gratified with the
results achieved in so short a time.
Motion Pictures Services. Our modern Treise
Engineering custom equipped laboratory offers
black and white reversal processing (16 mm
and super 8 mm), black and white negative
processing, ME-4 color processing (16 mm and

super 8 mm) with application of optical sound
track simultaneously. Also, Ektachrome com¬
mercial processing through a separate processor
for the optimum color original. Automated,
tape-controlled, color corrected prints are made
on the Bell & Howell model "C" color printer,
"The Standard of the Industry." Also, we offer
black and white prints on Bell & Howell equip¬
ment.
In order to offer complete services to our
clients. Photo Processors has installed the
finest sound department possible along with
a complete custom still laboratory.

We keep Pros happy, at no extra cost
For further Information and Price List, write or call:

PHOTO PROCESSORS INC
Box 2116A * Austin, Texas 78767 * Phone AC512-472-6926

Continued on Page 1226

AMERICAN CINEMATOGRAPHER, DECEMBER 1970

1223
American Cinematographer - December 1970

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