American Cinematographer - December 1988 - 100

time-lapse sky footage. The color was
stripped out and the clouds were distorted
lengthwise. The piece of sky you see on the
screen might actually be six or seven
screenwidths long. The ADO stretched it
out; we used one piece of it. Bill did subtle
things, like throwing the horizon line out of
focus and putting light into the scene. He
took shadows from the original characters
and keyed them onto the backgrounds." A
nice bit of multiplaning was worked into the
first shot fragments of a demolished
building glide by on a separate level to give
it depth. The expanding layer of mist was an

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added element.
The montage is delightful and
jarring to any fan of the series. Marius
Constants guitar rhythm underscores the

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Twilight Zone logo as we pan down to the
familiar landscape, complete with moving
sky. Bernard Herrmanns music takes over as

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the macabre clown in "Five Characters in
Search of an Exit" bellows in anguish. The
executioner in "The Obsolete Man" cuts to

editing, mixing, resolving,
transfers in-and-out, high¬
speed recording, dubbing,
digital transports and speed
control, application of magnetic
stripe on either side, time-code

Gladys Cooper hearing her telephone ghost
in "Night Call". Using the ADO, Talky Tina in
"Living Doll" zip-pans to living manikin

interlock.

Anne Francis in "The After Hours" and the

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landscape recedes in sympathy. Agnes
Moorehead swinging her axe dissolves to
Cliff Robertson running over the horizon
line. Cut to Nehemiah Persoff flailing his
arms in "Judgment Night." Dissolve to Bur¬
gess Meredith exulting that there is "Time
Enough at Last" and his desperate search
for his broken glasses. Dissolve to paranoid,
bleeding Jack Weston in "The Monsters are
Due on Maple Street". Dissolve to Nazi
general Oscar Beregi blacking out the cam¬

splicing robot for editing and
conforming.

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Foreward/Reverse operations.

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ADO's and Kaleidoscopes are
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proud to

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legacy, The Twilight Zone.

A
American Cinematographer - December 1988

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