American Cinematographer - February 1984 - 68

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colors, a surprising fact
which, Neyman notes, "nobody
noticed."
The

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is that the

changes were very subtle, done
simply to help convey different
moods in a setting in which so
much varied action took place.
The apartment is seen at the outset
looking eerie and ominous. Differ¬
ent people come in and out. A
photo session is held there. And
it's there that Margaret's victims
get vaporized. "All these things are
stages in Margaret's life, while, at
the same time, the apartment is liv¬
ing its own life. All the stages are
different, and we have to feel these
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differences

on

the

screen.

"We did this with light
and color. The first thing is color.
For example, the love scene with
Owen is lyrical, peaceful, the most
human in the movie. They are just

human beings trying to re¬
member their lives. It's a sunny
two

day in New York, and
to use lots of yellow,

we

wanted

to get the
feel of the sun-but this punk

has nothing yellow in it.
Marina, the production/

apartment
It

was

designer, who suggested
sets: yellow, for
day; blue, for night; and green, for
magic hour and everything else."
That particular scene, however,
was shot slightly differently. Due
to the psychology of vision, yellow
on yellow
appears normal. Conse¬
quently, everything on the set was
yellow, but shot without yellow
light.
costume

THE LONDON INTERNATIONAL
FILM SCHOOL

the idea of three

By contrast, when Mar¬
garet is about to surrender herself
to the alien, the same apartment
takes on a look of "mental dark¬
ness,"

if it

just before a
Very strong lights
were angled very low to show the
room (the blue night set), in
partial
light (there was no way to shine
anything in from the outside of
the iyth-floor apartment), and ar¬
tificial lights were placed near
where she sat. In the preceding
scene, the photo session, strong,
flat lighting was used, much of it
coming from the lights in the
as

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66

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American Cinematographer - February 1984

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