American Cinematographer - June 1991 - 86

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Heffron restrained his

From Basic to Full Blown

And

camera

Bridegroom.

"It's a period piece, set in a totally
different era, so I didn't want to
distract the audience with a lot of

everything

movement. I wanted the

inbetween.

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camera

disappear and just leave you with
the scene," he explains.

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Even so, there are three or
four long, lyrical camera moves
within the film. In one, the camera
dollies back and booms up from a

photograph on a lace tablecloth to
show a roomful of surprised Polish
peasants. In another, the camera
gently circles the candle-laden table
in

prayer sequence.
"The second
didn't go for a lot

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movement was,

reason we

camera

of course, the cost.

We had the Fisher 10 in the syna¬

gogue for a

couple of days, and it's

wonderful, but for the rest of the
time we could only carry a door¬
way dolly," Heffron states. "But
you can do an awful lot with the
doorway dolly; we used it to track
actors into a room, resolve the
move,

and then just let the scene

play down."
The

production shot for

six weeks in the fall of 1988,

then

wrapped to wait for the January
snows. When the
company opened
up again in early 1989 for five days

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of winter exteriors, there still wasn't
any snow. But a
had arisen.
"There

bigger problem
was

money to rent an SR camera pack¬
age so I had to go back to my own
trusty Arriflex S," says Heffron. "A
lot of people will probably laugh at
the idea of a theatrical release par¬

tially shot

on an

S, but it is still

great, rugged, go-anywhere cam¬
era

and it served us very well.

It has

very stable movement and I used
my own Schneider primes. Al¬
though they go much more blue
than the Zeiss Speeds, the scenes
were winter exteriors so the cooler
look dovetailed very nicely."
Once the winter scenes
a

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Sales and Rental
84

Audio, Lighting, Camera Support

completed, the company fi¬
nally wrapped and the film went
into postproduction. Amy Sumner,

were

New York editor,

moved into the

producer/director's house and
went to work putting the film to-

American Cinematographer - June 1991

Table of Contents for the Digital Edition of American Cinematographer - June 1991