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¬
✓ Anecdotes
256-page trade paperback
40 full-page color photos
Distributor orders welcome.
ing it from the ceiling. There's a
scene when Tom
goes into the
bedroom, a top shot over the door.
local bookstore
ExLibris, Publisher 540 N. Santa Cruz Ave., Suite 117, Los Gatos, CA 95030
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
Address
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or
money
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
✓ Exclusive interviews
/ Technical
on
to say here? How do we want to do
it?' As we progressed I found that
by Fuensanta Plaza
✓ Inside view of
picture
tion, but decided that "Locations
order only made out to Ex Libris, Publisher. Allow 3 weeks for delivery (AC)
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
PORTA-BRACi®
CARRY-ON CAMERA CASE
Chanel,
wears
all black
or
white
with black trim in the starkly white
settings. The name of the character
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
► A breakthrough in carry-on camera luggage, the new
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size limitations. The
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is slim, durable, easy to carry
Supplied for certain popular
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cameras
only. Call for
darkness and
we can see into the
shadow areas, especially in L. A."
"We were, at one point,
shooting with three matches out of
Bennington
Vermont 05257, USA
32
case
and surprisingly handsome. Supplied with sewn on carrying
handles and padded shoulder strap with swivel snap hooks.
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
PHONE 802-442-8171
FAX 802-442-9118
American Cinematographer - July 1991
Table of Contents for the Digital Edition of American Cinematographer - July 1991
American Cinematographer - July 1991 - 1
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