American Cinematographer - April 1989 - 54
Cartoonist's ideal,
Jessica Rabbit,
seems
palpitatingly
real in her
nightclub act.
ceptions
able to do that
greatly. I read
article which stated
we were
and the film benefits
a
newspaper
concerned
with the fact that the camera moved
that the animators
so
were
much, but most of the animators
IVe talked to said that the
boon of the
adapt
great
picture is that we didn't
technique to an easier,
our
conventional way.
"We built full-size, bend¬
able rubber rabbits to use as stand-
more
help with the lighting and
staging. Each time we photo¬
graphed a scene we would always
do one take using these large, poseable figures, which were built for
principal animation characters
such as Roger, the weasels, and a
couple of the other characters.
These proved to be extremely use¬
ins to
ful devices, because the operator
was able to see their sizes in rela¬
dialogue, which was being deliv¬
ered by an off-camera actor. The
actors in the
scene were
able to do
the rehearsals with the
figures, vi¬
sualize what the action was going
to be, and then during the actual
take they could draw upon re¬
membrance of what the figure had
done when brought through by the
director.
than usual. "This
was an
unusual
picture in that all the backgrounds
were to have
something composi¬
ted
over them, whether animation
effects," Cundey revealed. "Ear¬
ly on, we decided we had to consid¬
or
would then
in
hearsed,
or I
the character
The
operator would then
see
how fast it moved and
had to consider the end result and
so
understand what the action was
and where the character would be
moving.
be able to
decide how to compose. Then,
we shot the scene, we didn't
use the
figure and the operator
when
American
er
pre-production and during pro¬
was
going to greatly affect
what was going to be done eventu¬
ally. This includes even the timing,
which normally isn't done exten¬
sively until after the negative has
been cut. As we were working we
it was re¬
that everybody would
scene as
Cinematographer
were
only going to
appear later. We were shooting
them, you might say, at the time of
production.
"It was a unique project,"
Cundey understated.
Tequila Sunrise
Conrad Hall, ASC
ASC and
complexity of the
technique employed throughout
most of the picture made color tim¬
ing of more immediate concern
tion to the actors. The director
move
characters who
Academy Nominee
The
the end result very carefully
because everything we were doing
through the
52
would have to just imagine where
the character was in relation to the
duction
almost think backward,
always
considering the post production
work involving all the animation of
April 1989
A well-known film writer stated
re¬
cently that "1988 was the year of the
close-up." Tequila Sunrise illustrates
this to perfection. Not since direc¬
tor Carl Dreyer and cinematogra¬
pher Rudolph Mate put The Passion
of Joan of Arc on film - 60 years
earlier!
-
has
a
movie owed
more
of
its effectiveness to the
prolonged
intimacy of the camera with the
performers. It's an unusual ap¬
proach to a cops vs. crooks show which Tequila Sunrise is, replete
with the expected fights, chases
and explosions - but it pays off in
characterization, audience rapport
and romantic warmth.
Such
approach de¬
players who are interesting,
both physically and histrionically,
and a cinematographer with the
ability to capture these qualities.
mands
an
American Cinematographer - April 1989
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