American Cinematographer - June 1988 - 72

WE'LL

Our

SURVEY IT,

light

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day or night

DESIGN IT, SUPPLY IT,
TRUCK IT, GRIP IT, GRID IT,
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white

light on
and he'd time

the head of each roll;
only to that, "other¬

wise, I would have

no

idea what

happening."
Heyman got a lot of pres¬
sure to shoot on
Fuji film, under¬
standably, since film financing
came from
Japan. He did a series of
tests upon arriving in Tokyo;
pull¬
ing the film and overexposing and
underdeveloping both Kodak and
Fuji. But he didn't care for the color
was

saturation in either, so he used lowfilters. "One of the things that

con

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me out about
Tokyo is the
primary color," Heyman explains.
"I wanted to capture those neon
lights against black skies and back¬
grounds. I thought that Kodak
helped to maintain that." Perhaps
Fuji is made for the Asian skin tone,
but Heyman finds an
unappealing
amount of green in it. He shot on
Kodak's new 97, to get closer, color-

wise, to the fluorescent

tones in the

Tokyo subways and nightlife.
If Heyman could do it all
over
again, how would he prepare
for his work on Tokyo Pop? How
could he better equip himself for
work in the Orient? "I might spend
more time
studying Japanese art,"
he

offers,

"because Westerners

going to Tokyo have

a very particu¬
lar vision of what the east is like;

temples, rock gardens -and the re¬
ality is quite different." One of
Heyman's goals in the making of
Tokyo Pop was to reveal the charac¬
ter's vision of rock and roll
Tokyo.
"If I could do it
to have

over

again, I'd like

background in classi¬
cal Japanese style." He shot a scene
in which
Wendy's Japanese boy¬
more

friend sits down to

Century's extensive modification makes
existing 9.8mm, T2.2 Kinoptik 35mm
lenses fully compatible with today's cam¬
eras

nuances," he adds. "I tend

Extensive Evaluation & Optical Care □ New Fo¬
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to work

abstract

expression, a
soft, directional light coming from
a window and a
hard-edged light; I
a

more

could have made it

Angle attach¬

Call Jeff Giordano for details.

dinner of Ken¬

technical communication but for

and accessories.

Glass Filters □ Optional .7X Wide
ment converts lens to 6.8mm.

a

tucky Fried Chicken with his
family, whose traditionalism is
lapsing in various degrees accor¬
ding to age. "I wanted the Ken¬
tucky Fried Chicken scene to be
low key obviously, not so much for

more

classic."
A

SMS PRODUCTIONS, INC.
445 W. Erie Street Unit 103

Chicago, IL 60610 312-664-3752
American Cinematographer - June 1988

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