American Cinematographer - November 1985 - 98

Margret in the stands while utiliz¬
ing the enthusiasm of the Seattle
fans surrounding the actors. "We
were shooting
5294 inside the
Kingdome at 5.6. There are nor¬
mally 100 foot candles during a
football game, so we had plenty of
light," recalls McLean.

The Grip

shots
A remarkably
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to

Yorkin used long master
obtain emotional per¬

formances, and by staying

on

the

three minutes he al¬
lowed the emotion to build.
McLean described how operator
O'Shea was able to follow the per¬
formers. "We would do a master
shot and a move into a closer mas¬
ter, and another move without
added coverage," McLean ex¬
scene two or

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plained. "Bud wanted to capture
reality by using the mas¬
ter shots, and have us be on our
toes and not miss
anything on
focus or framing. He just wanted
to get those real
gutsy perform¬
ances. There is a scene in
Harry
all of this

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If Gene had had
coverage

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McLean talked about his
and the important role they

play in establishing good
nication

on

the

set.

commu¬

"There

are

only a handful of really good
gaffers and grips so you want to
keep these guys available to you.
Let them

know when you're

working or not working and try to
get one of them on your next pic¬
ture. It's
tough to do sometimes.
Now I'm losing Tommy Stern
(gaffer) and Charles Saldana (key
grip) since Clint Eastwood is doing
a

picture in September. You can't

blame them for staying with Clint
because he's going to do another

pictures or so in the next 10
So after losing Tommy and
Charles to Clint, I've picked up
Colin Campbell who was Vilmos'
gaffer. My dolly grip who was with
me
on
Twice in a Lifetime
(William Young) has been moved
up to key grip since he's capable of
20

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96

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American Cinematographer - November 1985

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