American Cinematographer - December 1984 - 52

Paul Mandell

Photography and Visual Effects for
"Most of

us

feel the film

comes

under the

heading of 'strange and
dark,' " British cinematographer
Freddie Francis said. "Strange,
dark and different, I'd say. One
doesn't

want

it

to

Herbert's story. It is his second
outing with Freddie Francis, both
having won critical acclaim for the
textural tapestries of The Elephant

important to me. A lot of times
I'm not arguing with Freddie, I'm
begging him to make something
darker. Dino,

on

Man.

begging him

not to

Dune is David

look like Star

Wars IV, and it's not that sort

of

film, anyway."
This could be

an

apt

de¬

Lynch's
major film in color. "I would

first
loved to have made Dune in black
and white," he admits, "but it re¬

scription of Dune, which Francis

ally is

almost a year photograph¬
ing, but words cannot do it justice.
For though this magnum sciencefiction opus is an overwhelming
fusion of sight and sound, pro¬
duced by a truly international
crew, Dune is a David Lynch film.

have
and

spent

color film. I would love to
parts of it done in black
white, though. There are
places where I might want to desaturate the color and slip in that
a

seen

direction. It's not that I'm a nega¬
tive person, really. It's just that I

penchant for industrial wastelands
mutagenic images into Frank

always like something dark in the
frame, so that you don't see every¬
thing and you can sort of zoom
out somewhere. It's a feeling. Of
course, this caused some problems
on Dune, but
photographically it's

American

December 1984

That alone delineates it from the
norm.
The surrealist painterturned filmmaker has infused his
and
1

reddie Francis,

Hrector of

ihotography, with
irriflex

camera

equipped with the
\ightflex device.

50

Cinematographer

the other hand is

listen to me
and make it lighter."
Francis handled each sit¬
uation with kid gloves. "Because I
had worked with David on Elephant Man, we didn't have to dis¬
cuss the lighting plans a great deal.
I knew the things he'd like, but
has to know what's in the
back of his head. David thinks in
black and white. We've gone very
low in key for color, sometimes

one

hardly
to

low as David would like
but one has to think of
people who have to sell the
as

go,

other
film.

"I
on

say no to

David

anything, but when he

wants

never



American Cinematographer - December 1984

Table of Contents for the Digital Edition of American Cinematographer - December 1984

American Cinematographer - December 1984 - 1
American Cinematographer - December 1984 - 2
American Cinematographer - December 1984 - 3
American Cinematographer - December 1984 - 4
American Cinematographer - December 1984 - 5
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