American Cinematographer - August 1995 - 53

the production itself -
makers standing by their
to the material.

the film¬
approach

Says Sender, "I stood out
there with Kevin Reynolds on one
of the particularly difficult days -
the wind had changed, the sun had
disappeared, everyone had been
stung by jellyfish and there was a
volcano erupting somewhere -
and I asked him, 'You don't think

would have done this on a
stage with a lot of bluescreen and
digital effects, do you?' And he
said, 'No way, it would never feel
the same.' And I agree. There were
many, many days where we didn't
have the right light to be shooting
in, but that raw roughness is now
part of the film's style. Waterworld
is not a glossy picture, but it does
have a reality to it. You just can't get
that tangible look and feel in a stu¬
you

dio;
a

on

the other hand, there

were

lot of occasions when there

no

CRIMSON TIDE
BATMAN FOREVER

FREE WILLYII
WATERWORLD
IT'S BEEN A WET YEAR.

THANK YOU FOR USING
HYDROFLEX EQUIPMENT.

was

time for art."

Agrees Reynolds, "A lot of
was shot on the
fly. We
had to get the day's work done be¬
cause our shooting days were so
enormously expensive. But I think
that raw or dirty look lends itself to
the picture."
Would Reynolds consider
directing another water-set film?
"When I first considered doing this
picture a couple years ago, I called
up Steven Spielberg and asked him
if I wanted to do a film set entirely
the film

on

water," he recalls. "Steven said,

'You

might, but I'll never do it
again. Jazus was the worst filmmak¬
ing experience of my life.' And
now

I know what he

never

once

means.

I'll

do another water

in

a

picture;
lifetime is enough. It's just

too hard."

Looking

on

the brighter

side, the ever-positive Semler, pre¬

paring for his directorial debut
with the Steven Seagal actioner Se¬
cret

Smile, counters, "At least

were

we

in Hawaii. We left after about

138 million

days

or

whatever

on

Waterivorld, but if we had asked the
crew

to shoot for another

month

they would have been ecstatic. It
was a great location to be stuck in."

51



American Cinematographer - August 1995

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