American Cinematographer - December 1970 - 98

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1244

shot in sunny weather and what can be
shot in dull weather or in the rain. I
must say that this script calls for just
about every conceivable weather condi¬
tion-even snow.
"We have cover sets built inside that
huge plastic bubble set up on the road
that leads here. We've made tests in
there and it will work just fine if we get
weathered out and have to move in¬
side-but it hasn't happened yet.
"The second big problem is the
language barrier. I've worked abroad a
tremendous amount, but I've never
found the language barrier quite so
formidable as it is in this country. There
seems to be no link between the local
tongue and any other known language.
One has to do an awful lot by means of
sign language. I would like to say,
though, that I've found the Yugoslavs
simply marvelous to work with-
tremendously willing and very keen to
help. I've got the most wonderful unit
with me and you've no idea how much
easier it makes my job when I know
that everybody is backing me up."
The conversation gets around to the
subject of distant locations-when and if
they're necessary.
"I certainly think it was right for us
to come to Yugoslavia to make this
particular picture," says Ossie. "The
basic sets could have been recreated
elsewhere, but the general locale
wouldn't have been as authentic-nor
would the people. On a film of this scale
the crowds do play an important part,
and it would be very difficult to find
faces like these anywhere else.
"Equally, though, I don't think dis¬
tant locations are always necessary. I
wonder myself at times, why people
want to do this. I think it's because
some directors feel that there is a style
of photography created in major studios
that is entirely different from that
which you get on location, and that you
can never blend the two together. I
don't agree with that. I think that one
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shooting a studio interior as one gets on
location. It's just a question of getting
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honest and real way. That forces the
cameraman to light his interiors just as
he would on location.
I had noticed, when exploring the
interior of the picturesque synagogue
set earlier in the day, that there were no
"wild" walls and I ask him if it is
because of the reason he has just men¬
tioned.
"That's one of the reasons," he says.

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AMERICAN CINEMATOGRAPHER, DECEMBER 1970
American Cinematographer - December 1970

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