American Cinematographer - December 1970 - 81

Breakfast in the Afternoon
At about one o'clock the next after¬
noon, cast and crew members begin to
show up for breakfast in the dining
room of Zagreb's International Hotel,
where the company is billeted.
By three o'clock busses and limou¬
sines are loading up to take people out
to the location. I ride out with the
interpreter, who is the proud possessor
of a Volkswagen of his very own
(which, he tells me, costs almost as
much here as a Cadillac would cost in
the States).
When we arrive on the location, crew
members are busily setting up to shoot a
"magic hour" sequence along a dirt road
lined with peasant cottages. Director
Jewison tells me that there is a great
deal of this "magic hour" work to be
done on the film and, since they can
shoot only a very little bit during each
session, there is a scene or two included
in each day's schedule.

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The "magic hour" (called "mystic
hour" by British technicians) is that
short span of time between sundown
and actual night when there is still
enough ambient light from the sky to
pick up detail, but it is generally dark
enough for streetlights, bonfires, torches
and lights shining through windows to
pick up richly on the film. It is a
convenient compromise between having
to light huge areas night-for-night and
being overwhelmed by the sunlight en¬
countered during day-for-night shoot¬
ing.
This evening's "magic hour" bit is a
scene of villagers coming out of their
cottages and walking down the road
toward the synagogue where a wedding
is to take place. They are carrying
candles, which must pick up in the
scene, and Ossie has a burning candle
stuck on top of a fence that he keeps
looking at through his viewing glass to
make sure the balance is correct.
Despite the tricky co-ordination of
action involved (which includes herding
a flock of geese into the scene at just
the right time), the scene is "in the can"
in about four takes and the crew strikes
the equipment out for a move to a
different set in the village.
As we are walking in that direction, I
ask Ossie if this picture is presenting any
unusual problems, photographically
speaking.
"Firstly, the biggest problem every
unit encounters in Yugoslavia is the
weather," he tells me, "but it is surpris¬
ing what one can do if one breaks the
script down into sequences and dis¬
cusses with the director what should be

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Continued on Page 1244

AMERICAN CINEMATOGRAPHER, DECEMBER 1970

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American Cinematographer - December 1970

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