American Cinematographer - February 1984 - 72

was

shot, Neyman and Tsukerman

had discussed the role of every
scene,

and sketched its general vi¬

sual construction. The use of light
and color was outlined, as well as
the exact role and placement of
each optical. Neyman believes that

special effects scenes back to
back will undermine the second

two

one,
come

and adds, "Basically, people
to see a show, and less ef¬

fects are easier for them to swal¬
low." He emphasizes that the spe¬
cifics of some of the preplanned
material may sometimes be subject
to

change, but

tablishes

a

limits," he

minimum it es¬
"You know your
"because the vi¬

at

range.
says,

sual construction of the film is
there."
He views the style of the

image as a tool to support the di¬
rector's idea, which must be care¬

fully considered from every
optics, moves,
film, filtration-to achieve a style

aspect-camera

which best suits that idea. Careful
attention is also paid to logic and

consistency. Many daylight

scenes

pushed specifically to add
grain, particularly if they would
appear next to a nighttime scene.
When planning a scene, Neyman
would consult his log to recheck
its sequencings, considering even
the use of gels as a part of the
overall "symphony" of lighting he
was composing. "You have to
have logic to get from one point to
another. People don't see it, but
they are going to feel it."
Apart from the lighting,
which to Neyman is "the most
important part," since it "supports
the basic idea of the script," other
basic elements vital to the Liquid
Sky script were its predominantly
nighttime setting, and New York
City itself. "These are night peo¬
ple," he asserts, "so you can't just
were

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American Cinematographer - February 1984

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