American Cinematographer - August 1985 - 65

Both the cameraman and
the director also agree on the use
of smoke on every shot whether
indoors or out. "White smoke
cookies are fine for the interiors,"
says propman

Mark Peltzer. "We

tried blue for a while but we
couldn't live with the nausea that
resulted. With the white,"
he chuckles, "all you get is black

lung

...

a

dailies that
ter's." For
that several
ficient and
ways

who

small price to pay for
look as good as Pe¬
exteriors Mark said
Rosco

foggers

filtered masks

available for
prefer them.

crew

suf¬

are
are

al¬

members

tions that

easily
The danger of such a
practice, warns Haagensen, is that
operating excellence is sometimes
compromised when Adrian be¬
comes totally immersed in per¬
to

seem

to come so

his eye.

formance,

he should, rather

as

than

following movement. "Of
course if you've earned the right to
spend money by making Flashdance I guess you can shoot as
many takes as you please in order
to get the film you wish. Peter
however, is always decisive and an
eternal gentleman," Craig says,
"but the crew loves someone who
make up his mind and are

can

The soft haze produced
by the smoke is augmented by
Biziou's use of Mitchell glass diffu¬

pleased with his leadership." Con¬

sion in front of his Panavision
lenses. Craig Haagensen, the cam¬

they've usually been brought on
by physical exhaustion. "Our basic
day is 14 hours but by the time

operator, says that every
double fog, low con, net, glass
era

fog,
and

flicts between Adrian and Peter are
rare but when they have
happened

dailies

are

over

it's

at

least 16

acrylic diffusion they could

hours," Craig

their hands on was
nal analysis was that the old
Mitchells held onto color and
softened details imperceptibly

other run-ins have been trivial and
have to do with framing. Adrian's

get
tested. The fi¬

enough to create the mood the
story demanded. These glass dif¬
fusers are expertly crafted by PanMirror of Glendale, California
for the Mitchell Camera Com¬
cro

the fogs and low

pany.

Craig

cons

desaturated the color and

since
such

they had opted for smoke,

says

an effect would be redun¬
dant. Peter likes to keep vivid col¬
ors down
in accordance with
Adrian's wishes, then place a single

patch of color in the scene using
wardrobe, flowers, or even a
brightly hued towel as an accent.
"A colorful flower

erwise

vase

in

an

oth¬

monochromatic, hi-tech

looking

room, can be smashing,"
Craig, picking up a little Celtic
flavor in his speech pattern.
Craig confessed that the
says

director who

was

so

accustomed

years

says.

"The only

in TV have caused him

lean toward

a

center

frame

to
on

compositions. Peter and I prefer to
explore the full range of the 1:185
proportion. Since much of the fur¬
niture and the design of the loca¬
tions are reflective of the Bauhaus
School of design so popular in the
20's and 30's, they seem to want
off center feeling like the paint¬

an

ings of that time. Therefore, Peter
first was constantly nudging the
frame right or left of the cross
hairs. After a few days of dailies,
however, we all fell into perfect
harmony." Haagensen says that
spontaneity is a key word around
the set and that at almost any time
Peter must be prepared to shoot at
any point of the compass. "And
at

and few

really have to do with
framing. For instance, how close
an actor directs his eye line toward
the lens has a great bearing on the
intensity projected in a scene. The
height of the camera has an effect

ways to move a camera.

They all

generate a nervous tension in a
scene that can often be more effec¬
tive than the smooth precision of a

dolly

move.

A

gyro

adds

a

less

abrasive effect to hand holding
and a double gyro goes even fur¬
ther. We have all these tools on
the set and are also considering
Steadicam and the use of a DynaLens for some scenes."
Peter Biziou's experimen¬
tal flair as well as his skill are also
borne out by his gaffer, Jonathan

Lumley. "Peter makes sure each
coming from the
right place," he said. He can light
comfortably with an entire cata¬
logue of equipment, or as he did
the other day, play with a set of
foot candle is

Venetian blinds from sunrise

making the most of the specta¬
cle. I suppose this too", says Craig,
"is the result of Adrian's days in

to

lighting a penthouse with
daylight so cleverly that there was
never a trace of inconsistency in
the key illumination or its

to

direction.

with a second camera. "Both Peter
and I have such great respect for
him that we don't feel put upon.

TV, but

Lumley's eyes took on a
sparkle that was not unlike that of
Biziou, as he began to reflect on
more of what he had recently ob¬
served. "He will use remarkably

Usually he positions himself be¬
hind
cover

set

a

10:1

zoom

the action

or

where he
pan

"Peter and I

can

around the

framing interesting composi¬

again when those

of time

spend a lot
making suggestions", says

cross

keyed with brutes,
smoke filling in
background.

have a different effect on a scene
and are points for discussion.
Hand holding, for instance, can

sunset,

once

location, back

the stature of a character and
there are an infinite number of

then there have been times when
the earth nearly shook because
Adrian got to see the sun in a shot
and everything had to be relegated

dailies come on the screen the
snide remarks are washed away
with the spent developer."

camera.

Opposite page:
Exterior night

on

operating his own camera over
the years has grown fond of pick¬
ing off numerous shots himself

to

Biziou and

different devices to achieve a simi¬
lar end," he said. "It is as if he
wasn't content with the daily chal¬

Craig, "because they're welcomed,

lenge of

August 1985

American

a

mammoth feature

Cinematographer

to

63
American Cinematographer - August 1985

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