American Cinematographer - October 1985 - 73

"The

lighting of the exterior of
Jerry's house goes from a rather
ordinary blue, moonlit look, to a
decidedly eerie green look with
dry ice fog pouring off the

Above: A vampire
haunts the streets of
an

American

Center:

city.
Ragsdale is

determined that his
room

outside."
Also planned in the early
discussions of the visual look of
the picture with production de¬

will be

vampire-proof.
Below: Ragsdale and
Roddy MacDowell
go vampire hunting.

signer John De Cuir, Jr. (son of
veteran designer John De Cuir,
whose

recent

credits include

actual physi¬
of Jerry's house. "We
really build parts of
Jerry's house bigger than Charley's
house and show it physically
looming over," said Kiesser, "Un¬
fortunately, budget prevailed."
Ghostbusters),

were

cal changes
wanted to

However, the effect is not lost

as

Kiesser accomplished the same
look during principal photog¬

put the camera up on
with a 24mm lens," said
Kiesser, "and we got the same sort
of distortion." On film, Jerry's
house appears to stretch up and

raphy. "We
a

crane

Charley's house in the
background.

over

Another device used

was

the Panatate. Similar to the type of
device used for 200i's spacewalk¬

ing

scenes,

camera

on

rotates the
the axis of the lens.

the Panatate

Like the Louma crane, the Pana¬
was used to denote Jerry's

tate

point of view in the sequence
where he crawls down the outside
wall of his home to look through
the window at Peter Vincent and

Charley. The shot begins upside
down and then rotates to right
side up as it looks through the
window. The effect is both disori¬

enting and chilling.
shot

on

One of the sequences
location in downtown Los

Angeles is Evil Ed's demise in the
alley. A friend of Charley's who
ostensibly refuses to believe in
vampires, Evil Ed wants to take a
short-cut through a dark alley.
Charley tries to stop him, but Ed
goes through anyway.
The alley is filled with
pools of light, dark shadows
stretching in every direction and
atmospheric clouds of steam and
fog. "We used a number of differ¬
ent things for smoke and steam ef¬
fects," said Kiesser, "We used
October 1985

American

Cinematographer

71



American Cinematographer - October 1985

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

American Cinematographer - October 1985 - 1
American Cinematographer - October 1985 - 2
American Cinematographer - October 1985 - 3
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American Cinematographer - October 1985 - 108
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