American Cinematographer - June 1990 - 32

MEXICO
LOWER COSTS.

HIGH PRODUCTION VALUES,

the shooting, we
dailies.

You say your idea calls
or the Amazon jungle,
Don't throw your
in Europe or the

for a shot in the English countryside, French Riviera, Italy, Japan,
but your budget says "No Way!"
idea away. Shoot in Mexico instead, for about Vz the cost to shoot
U.S.

Mexico has locations that look almost identical to

Europe. Or the South Pacific. Or
shooting here are practically legend.
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the U.S. And the economics of

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CONTACT: MARK PITTMAN

DIAL DIRECT: 011-525-684-0869 FAX:

011-525-679-7097

"Now,
on

chose not to see

we

did

see

them

specific occasions and we did

have them transferred to tape so
that Sondra and the producers
could see them. From my point of

wanted to see them
tape - only if it were an act¬
ing, an action, or an operator
performance thing that needed to

view, I

never

on

be judged. So I had the editors
break off the first and last frames

of every

shot.
"We held the slate out of

from the desk of:

€GON ST6PHAN
WE

HAVE EXPANDED!

200 FEET TO THE SOUTH
BY

-

ACQUIRING BUILDING *3 IN MIAMI

200 Miles TO TH€ NORTH

-

BY ACQUIRING 18 ACRCS ON LAK€ HAMILTON &
BUILDINGS #4 - #5 - #6 - *1 & #8 IN CCNTRAL FLORIDA
-

NOIL) UU€ CRN SERVICE VOU EVEN BETTER

the shot, just for a moment, and
we would roll a few frames. Then
the editors would cut out that
frame at the beginning and an¬
other from the end of the shot and
send them out to the set marked
with scene numbers. My assistant
would mount them as slides and
I would have a little slide show at
lunch time. I could see all of the
scenes from the day before - at
least the head and tail of every
shot. Admittedly there are bits in
the middle you don't see. But at
least you get a feeling of the look
of the set and the look of the way

you've truly lit it
to what you

-

as

opposed

get on the video.

Semler
seemed to enjoy

genuinely
his first Los
Angeles film and his relationship
with his director. And he isn't
concerned about the director's

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IN SOUTH FLORIDA:

30

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gender. "The relationship isn't
much different whether it's a
man or a woman director. What
I enjoyed - and I enjoy it with

any director - was the amount
of time we were able to spend

planning. That's what was good.
We both liked to be on the set an
hour or so early. We'd talk about
what

we were
going to shoot that
day and maybe we would draw
little pictures. We were prepared
to get through the day's work. I
also appreciated the fact that she
gave me lots of latitude, lots of
leeway. We learned a lot from

each other."

Although he fears cate¬
gories, the new one Dean Semler
might find himself in is camera¬
man

to

It beats

actor/directors. Why not?

pigs.

A
American Cinematographer - June 1990

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