American Cinematographer - June 1988 - 60
Hora
by Benjamin Bergery
In the last few
When in
ASC, has collabo¬
Hora and
Dante share a love
for and thorough
rated with director
knowledge of old
Joe Dante
movies. The swir¬
Panavision Platinum camera with a 5 to 1
zoom lens. "I use zooms all the time but I
hate for anyone to notice. The zoom saves a
lot of time, once you've set your dolly track."
Hora explained that either he uses the zoom
years,
John Hora,
on a se¬
ries of science fic¬
tion and fantasy
films including The
ling colors and bi¬
angles of the
Twilight Zone epi¬
sode were inspired
by a 1953 movie
zarre
Howling,
an epi¬
sode of Twilight
Zone: The Movie,
Gremlins and Explorers. Recently Hora re¬
turned to his alma mater, USC, to recreate a
scene from the Twilight Zone episode in a
lighting seminar.
In the sequence,
Fingers of Dr T, which Hora said, with
characteristic humor, "no one went to see
except Joe and me." Another inspiration
the Winchester Mystery House in
Northern California, a maze-like structure
built by an eccentric heiress to confuse the
was
the
young
boy,
a woman in the seminar), leads
the heroine through a gray hallway splat¬
tered with ominous shadows. In an inter¬
(played by
During the seminar, Hora used a
as a
variable prime lens, or hides the zoom's
movement in a camera move. "For years
I
discipline of the primes, it did force
you to make your decision and set the shot,
liked the
but I've mellowed."
The foreboding mood of the
seminar shot is enhanced by a slightly
skewed frame. This "Dutch" angle is one of
Hora's trademarks, and was accomplished
ghosts she believed
were pursuing her.
"Joe and I are occasionally on
by changing the level on the dolly's base. In
one of his many references to film history,
the
wavelength," declared Hora. Much
preparation for their films is done
during informal conversations while scout¬
ing locations, preparing effects sequences,
or simply over dinner. "Most of what you
come up with you have to filter through the
Hora credited British director Carol Reed for
inspiration. "Almost half of The Third Man is
angles, but it's done subtly,
and increases the suspense."
Like many experienced cinema¬
tographers, Hora does most of his lighting
a
director. You don't want to create a vacuum
where you don't give him any ideas, but you
after I've
often."
don't want to overwhelm him either, so you
edit out the better ideas and present those."
view after the seminar, Hora explained that
he chose the scene because it was a simple
set-up that could be shot "without a story, a
director, actors or the other departments.
Also it was an oddball scene, such as the
great sequence in Welles' The Trial where
runs through a slatted corridor. As
the hero
cinematographer you live to do those kind
of shots, and you don't get to do them
58
called The 5,000
disagreement, "I keep pressing
him, but try to do so with humor."
American
Cinematographer
same
of the
June 1988
shot with Dutch
by
eye.
"I like the idea of gluing the f stop,
glued the printing lights, and doing
everything else with light. But I always
make
a
final check with the meter and
see
if
American Cinematographer - June 1988
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