American Cinematographer - April 1985 - 76

Helix keeps you

in the

picture...

that

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....

grave was a

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land," continued Joffe. "We

were

taken with how these tree limbs
stood against the sky like dry
bones that we knew we'd found
so

Incidentally, there were
yards of those bones in those
scenes, which were mostly man¬
ufactured out of plastic and latex
by a local Thai doctor and some of
set.

our

250

his medical students."

Certainly Cramer's most
ongoing effects assignment was the
production of the numerous ex¬
plosions that punctuate the entire
length of the film. "We had a lot
of elaborate tracking shots involv¬
ing explosions that just wouldn't
have worked without Fred," said
Chris Menges. "He's the only spe¬
cial effects guy I've ever met whose

without notice

safe, which

gave

us

a

lot

tracking shots,"
Menges continued, "are the shots

we

cameramen

all dream about.

When

you've managed to get all of
a scene in one fluid, moving take,
it's such an enriching experience
for the crew and the actors and
the audience. It can give both pace
and a sense of place, can show and
make believable what the camera
is trying to do. It's the kind of
thing Berttolucci does, and Raoul
Coutard does, except that Roland

likes

to

track much

more,

with the

background counteracting his
foreground ideas. That's a very
biting method to apply to a scene.

Chicago, Illinois 60610

April 1985

"All the tracking shots in
Killing Fields were Roland's
inspiration. He likes that kind of

The

excitement and
course,

movement.

Of

in this type of work you're

working with a steady camera,
keep your lens fairly
long so that you're absolutely
sharp and defined about focus and
exposure; you have fewer prob¬
lems this way. This is also the type
of photography that lets you look
for mannerisms in the people on
the screen. Now throughout The
Killing Fields if I could just use
prime lenses I would, and then I
would go for the Cooke lenses. If I
could I'd also try to make sure that
I was shooting at f4.5 or f5.6. But
many times this was impossible,
and I had to go with a zoom. Par¬
ticularly when I was dealing with a
kind of blocking where I wasn't
quite sure where the actors were
going to go or wanted to go. With
some directors you discuss
your
shot and you understand it imme¬
diately, and you know where to
put your lights. With other direc¬
tors, although they tell you where
they're going, you always have the
sneaking suspicion that you
not
so

you try to

mustn't crowd them

too

much in

they want to go somewhere
else. And that's what it's like
case

working with Roland Joffe. So you
have to be very sharp.
"But The Killing Fields is
totally obligated to Roland's vi¬
sion. Although the crew gave
themselves totally to this
film

of freedom.
"These

312/944-4400
74

salt flat with

withered trees that Roy Walker
and I found in southern Thai¬

stuff I saw in Burma and Vietnam.
Plus his explosions were pretty

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face.
"The location for this

a

explosions looked dirty, like the

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shot, but it is not until the
that Haing falls into the
pit and your eye follows him down
that you notice the bones. This is
interesting, because up until then
you've focused on Haing's face.
As a matter of fact, if you think
back to your childhood
the
first thing a baby focuses on are
people's faces. And no matter how
big a scene is, I always think it's
worth working out so that its
moment

-

I've

never seen a crew

work

harder, in fact - the leader
most definitely Roland Joffe,"
Menges.

was

says

■
American Cinematographer - April 1985

Table of Contents for the Digital Edition of American Cinematographer - April 1985
