American Cinematographer - July 1991 - 34

N E W !

tern," he was

a

bit wary of filming

almost the entire

Clint 1Eastwood:
M

A

1L

R

A

S O

easily by being allowed to
perform in an actual environment.
"I didn't feel much con¬
stricted by the lack of wild walls
because the rooms were large.
Sometimes we had two lights in a
window with polystyrene reflect¬

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ing it from the ceiling. There's a
scene when Tom
goes into the
bedroom, a top shot over the door.

local bookstore

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Please send

copies of Clint Eastwood: Malpaso at $24.95 each plus $3.50
postage and handling per copy. California residents add $1.62 state tax per copy.
Name

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worthwhile challenge and we
had some extraordinary settings.
I'd say to Monty, "What do we want
are a

more

insights

Available at your
or order from:

loca¬

shooting on location often works
better for the story. The actors react

filmmaking

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on

to say here? How do we want to do
it?' As we progressed I found that

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tion, but decided that "Locations

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The camera was mounted between
the top of the door and the ceiling
until the door opened and Tom
went inside. It took two hours to

rig, but it was worth it. The location
worked for us; the environment
itself dictated how to do things.
"Each location was very

carefully chosen in relation to story
and characters," Cooke empha¬
sized. "And each was treated in the

the script demanded. For
Dylan's meeting with Sharon Stone
the setting was all very white, neat,
almost clinical. We had to get just
the right degree of exposure of
white, something close to hot." The
actress, dressed in high fashion by
way

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is Serena Black.

Even the location exteri¬

stylized to some extent in
the cinematography. "The light on
ors were

the California coast is intense,"
Cooke explained. "In Los Angeles
it's a very crisp, sharp light. Charlie
wanted to soften the edges of the

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we can see into the
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"We were, at one point,

shooting with three matches out of

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32

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light and make L. A. look more
European, so I pulled some of the
richness out of the timing. We used
a lot of relative
underexposure,
trying to get the reality of what we
see at
night. We don't see hard,
opaque shadows at night; it's a soft

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American Cinematographer - July 1991

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