American Cinematographer - March 1986 - 34

gurney, and
and hoses to

I added
cover

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the

some

pipes

areas

where

puppeteers still showed
not block off the

whole

area,

wanted

however, because I

show

to

as

much empty

underneath the gurney as
possible. I wanted to make the
puppet look impossible. Visually,
you have to prove that there's no
way to do it. One of the shots I
loved in this sequence was a lowangle of the half-corpse on the
table, with the end of her spine
space

closest to the camera. It was my
idea to have a little fluid just under
the end of her spine to simulate

oozing spinal fluid. You have to
have a taste for these things, but I
felt it helped the illusion. Some¬
times the

movement

of her spine

perfectly coordinated with
what she was saying and her efforts
was

to lift off the table. Her
spine
would tighten and move a little

bit, drawing
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and I
so it

a trail of spinal fluid,
highlighted that with a light

was

very

prominent. I just

loved her. The puppet was

quisite. When

ex¬

something
that is so finely designed, you
don't have to hide anything, you
want to show it to
advantage, and
we were

you get

able to."
Brenner

to

show

some

was also allowed
fine camerawork to

advantage throughout Return Of
The Living Dead, a fact he at¬
tributes to the particular demands
of the horror genre. "I like horror
films very much," he said. "A cam¬
eraman

always looks for

tunities

to use

the

most

oppor¬

dramatic

of the medium, and cer¬
tainly horror allows you to get
very dramatic in lighting and com¬

aspects

position. This film was very attrac¬
tive to me right away." Among the
opportunities O'Bannon and Bren¬
ner seized
upon was the use of
subjective camera shots through¬
out

the

course

technique

was

of the film. Xhis

applied

to great

ef¬

fect in a scene in the chapel where
one of the heroes,
played by Thom
Mathews, becomes one of the un¬

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taking suns,

32

our

dead, much to his girlfriend's cha¬
grin, and a cat-and-mouse game
the pews. "That was
fun," l^renner remarked. "I oper-

ensues across

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American Cinematographer - March 1986

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