American Cinematographer - May 1985 - 66

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and we couldn't get
that sunlight we wanted. Then we
started filming at night with artifi¬
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The production had gone

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again in England. There the sky

was overcast

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over its schedule and Burum was
committed to photograph St.
Elmo's Fire in the States for
Columbia.
"Ernest Day, BSC, did
the additional photography for
The Bride, and he matched our

style very well," Burum said of the
distinguished British cinematogra¬
pher. "The real test of a camera¬
art is for him to have to
match someone else's work. It's
much easier to do things your own

man's

way.

He did

a

terrific job."

Burum found St. Elmo's
Fire

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64

Vogue and Architectural
Digest. There was no muss, no
fuss. Part was shot in Washington,
D.C., and the rest here in
Hollywood."
Upon finishing St. Elmo's
Fire, Burum returned to England
to supervise print timing for The
Bride, finishing that chore in midtween

When producers show

support

relaxing after the rigors of The

Bride. "Its style is a complete an¬
tithesis of The Bride, witty and
modern and a sort of cross be¬

FL 33709

March. He is enthusiastic about
the picture.
"It deals with universal,

timeless, philosophical problems.
use of Jennifer Beals and
Sting - the girl from Flashdance
and a big rock star - suggest a
youth exploitation film. But it's re¬
ally a class picture about people
discovering the world, more like
Anne of the Thousand Days than a
'horror' picture."
■
The
American Cinematographer - May 1985

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