American Cinematographer - November 1992 - 74

J.L.

Fisher, Inc.

Motion Picture and Television

Equipment

Brian's

style puts you in the
character's shoes and sometimes
this can make physical shooting a
bit more difficult/' says Burum. For
tricky POV of Davidovich go¬
ing from a dream state to a waking
one

state, Burum mounted a Panahead

top of a Conner fluid head to
enable the camera to execute a
dutch tilt at 90 degrees. "It's a tran¬
sition where you think it's real and
then she wakes up in bed to talk to
her husband. The camera had to tilt
on

up

with her when she sat up,"

Burum recounts.

De Palma's

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propensity for
extremely long shots also necessi¬
tates a strong collaboration among
all of a production's departments.
Raising Cain features two long
single-take scenes, one at the motel
and one at City Hall. The sound,
camera, set design, prop and loca¬
tion organizers had to carefully co¬
ordinate their responsibilities so no
one would be in
anyone else's way
during the City Hall shot. The fourminute-plus continuous Steadicam
shot followed actress Frances

Stemhagen as she delivers a com¬
plex speech while following a pair
of detectives through a hallway,
down a flight of stairs, onto an es¬
calator, and into an elevator before

Dissolve to

ending up in a basement morgue.
Long takes may make the
director of photography's job more
difficult, but Burum thinks the

ex¬

tra effort is worth it. "Whenever

possible, I think it's always better to

New

England

fishing village*

deliver the information in

one

shot," says Burum. "That way the
audience has their own timing in¬
stead of being hit over the head
with what's supposed to be impor¬
tant."
At the heart of Burum's

working relationship with De
Palma is an element necessary in
any successful team. "The nice
thing about working with a direc¬
tor like Brian is that he takes his
work very seriously, but also main¬

tains

a
good sense of humor and
perspective about it," says Burum.

You'll catch

a

lot

more

than

Washington State. You'll find
Call 206-464-7148 for

a

just mountains and forests in
our

New England a keeper, too.
production guide.

free location and

Washington State
AFC.
72

2001 6th

Avenue, Suite 2700, Seattle, WA 98121

"He understands that you make
movies to entertain people. You do

your best work as a team and hope
the audience likes it, but sometimes
it's not until years later that a
comes to be
appreciated."

movie

▲



American Cinematographer - November 1992

Table of Contents for the Digital Edition of American Cinematographer - November 1992

American Cinematographer - November 1992 - 1
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