American Cinematographer - November 1992 - 75

The Art of Rapport
by Kathleen O'Reilly
Kees

(pronounced "case") Van

Oostrum first arrived in Holly¬
wood after studying at the Dutch
Film Academy. He had re¬
ceived an AFI scholarship in 1981
and fully intended to return to
Holland upon graduation. That

plan changed, however, when a
friend asked him to stay and pho¬
tograph a documentary, for which

"Let's start with Larry
Elikann. Larry was a camera opera¬
tor for many years. His approach is

very visual. When he talks about a
scene he has
very strong ideas
about how he wants it to look. In a

way, that is the beginning of the
communication process. His visual

inspiration basically leads to the
meaning of a scene. The initially

Van Oostrum

to

their approach.

It's like stepping

into their world. A lot of what
are

we

communicating in this business

is not written down; it is very emo¬
tional."

The main body of Van
Oostrum's work has been in televi¬

sion, where extra prep time is an
unaffordable luxury. His average
prep

time is two weeks. "This es¬
sentially means

wound up win¬
ning a cinemat o g r a p h y

that at best I

might read the
script a month

Emmy.

before shoot¬

He subse¬

ing," he said.

quently began
shooting docu¬

get a concen¬

"But I won't

mentaries for

trated period of
time with the
director until

the Smithsonian
and other orga¬
nizations. After
two years,

Van

very shortly be¬
fore we start to

>,

Oostrum was |
offered an ABC 9
Afterschool |

shoot, and with

Special, which &
eventually led

rarely get

to a Movie of I
Dh
the Week. Since
then he has been director of photog-

on more than 25 movies
made for television.
Over the course of those

raphy

assignments, Van Oostrum has
gained valuable insight into the re¬
lationship between cinematogra¬
phers and directors. "I have always
contended that the cameraman, to
a certain degree, is a chameleon,"
he said. "The process of visualiza¬
tion changes depending on the di¬

working with, not
only because they all have different
characters, but because they have
different ways of talking about a
rector you are

scene."

By singling out three di¬

the time
straints

described shot carries the essence of
what the scene is about.

Director Sargent

"Joe Sargent is a director
who spent years in front of the cam¬
era. He
stages a scene and then we

developed an almost
telepathic working
relationship after
teaming on eight
projects in the past

talk about

how

to

shoot it,

[whereas] I think about the mood
of the
seems

after it is staged. It
like the virgin spring of his

(left) and Van
Oostrum have

4 Vz years.

scene

con¬
we

a
chance to sit
down and talk.
The most valu¬
able time we
have is during
the location
scouts. What I

try to do is to
hear the direc¬
tor out as much
as

I

can.

The

pressure isn't on yet and people are
more inclined to talk about their
vision of the picture. At this time I
don't make many suggestions; I

creativity is in the staging, then the
rest falls into place.
"Mike Robe's background
is in writing and I often find us talk¬
ing about the content and meaning
of a scene, in a sort of literary way.
Eventually we talk visualization
and staging and it all adds up.
"It's interesting to see that

just try to absorb as much as pos¬
sible. My main objective at this
point is the visual intent and the
quality of the initial locations.
"Invariably I take some
time, preferably right before I start

rectors with different backgrounds,

every

Van Oostrum was able to compare
their approaches and styles.

of

director has a different point

shooting, to reread the script," he

departure," he mused. "I find it
a
challenge to recognize and adapt

continued. "At this time I complete

November 1992

American

my notes

from

scene to scene.

Cinematographer

[I

73
American Cinematographer - November 1992

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