American Cinematographer - February 1996 - 22
technology and publishing. Sponsors in¬
clude the County of Kauai, Adobe Sys¬
tems, Eastman Kodak, Apple Computer,
and Wired magazine.
County of Kauai Office of Eco¬
nomic Development, (808) 241 -6390, FAX
(808)241-6399.
Massachusetts
The Crucible, starring
Daniel
Day-Lewis and Winona Ryder, began
filming in September on Hog Island in
Essex, where the company re-created
Salem Village as it was in 1692. The
state was able to convince Fox execu¬
Transportation Bldg., 10 Park Plaza, Suite
Massachusetts Film Office, the
new offices are at 633 Third Avenue,
33rd Floor, New York, NY 10017, (212)
2310, Boston, MA 02116, (617) 973-8800.
803-3100, FAX (212) 803-2339.
Nevada
North Carolina
The State of Nevada Motion
Picture Division has
a new
Web address
offering access to location photos, list¬
ings of upcoming productions and local
service providers, as well as information
on Las Vegas, Reno and rural Nevada.
The State of Nevada Mo¬
tion Picture Division, (702) 486-
2711, FAX (702) 486-2712, http://www
.
intermind, net/kvbc/nmpd/.
tives to
bring the film there after enlist¬
ing the National Guard to assist with
barge transportation to the otherwise
New York
In
sources
this year were
Television Development
the headquarters of the
in Massachusetts
Sabrina on Martha's Vine¬
yard, Mrs. Winterbourne in Boston, To
Gillian On Her 37th Birthday on Nan¬
tucket, and Celtic Pride in Boston.
the blow-up looked," Howe confesses. "I
credit it to the Zeiss SuperSpeed lenses.
I used only primes - a 9.5mm, 12mm,
has moved to
Empire State
Development Corporation and Depart¬
ment of Economic Development. The
notes. "I
prefer the aspect ratio in 35mm,
intimate; your eyes don't
dart around. It was a real eye-opener for
too. It is more
ASA 50 daylight, with is an
amazing stock with virtually no visible
grain," he adds. "For the night shoots we
used high-speed 7296 and it looked
good, too. DuArt did a brilliant job with
the blow-up."
McCann credits geography
and good fortune in being able to finish
the film and make the blow-up. The pic¬
ture was brought to the attention of one
of McCann's mentors, Oscar-winning di¬
-
rector Jonathan
Demme, who after see¬
ing a rough cut decided to shepherd the
project through its finishing stages. "I
very taken with the film," says
Demme. "It felt like the work of a total
filmmaker. He's really telling a story in a
was
straightforward, surprising way. I found
thoroughly riveting and impos¬
the film
sible to stop
watching."
The 35mm
blow-up made a dif¬
ference in the final aesthetic decisions of
the film as well. "The difference be¬
tween 16mm and 35mm is that in 35mm
you
really do
American
see
much more," McCann
Cinematographer
expertise in such
awareness
areas as
of
ani¬
mation, simulation, multimedia, and film
and video
special effects, and is especially
keeping the state's com¬
puter graphics graduate students and fac¬
ulty from having to migrate to other regions
for jobs. The project plans to be present at
national industry events this year.
concerned with
NC/Vision, (919) 481-0578, FAX
(919) 481-4639, ncvision@cybernetics
.net.
Quebec
The Film Office of Quebec is
touting Le Confessional, the official
en-
from Nick's point of view as he is lying
on his back show his attackers walking
to
out that most directors come from one
neo-realist film
side
the
7245
NC/Vision aims to increase
the state's
get much more into it. And it's more of a
didn't work
in love with. We used
"We shot the exteriors with
a
the state's computer
graphics and imaging technology providers.
"It's very engaging to see things
upside down," McCann says. "It brought
the film style and the emotions of the
character together."
However, he adds, "Every cin¬
ematographer knows that the film is not
about the cinematography." He points
and I cut out a few scenes that either
25mm, and 50mm. At least half the pic¬
ture was shot on the 12mm, a lens I fell
slow-speed 7293
re¬
efficiency, the
Governor's Office of Motion Picture and
me,
or
weren't needed after I
saw
blow-up.
"Another consideration is the
at ASA 200 for the interiors.
20
effort to consolidate
an
and increase
unreachable island.
Also filming
North Carolina has launched
program to promote
experience of the film for the audience,"
he continues. "The audience
now.
seems
The effect of
lighting and style is actually much
our
more
obvious in 35mm."
Howe adds, "We really worked
the color of the light to fit the different
moods of the shoot."
Would he shoot another pic¬
ture in 16mm?
Responds McCann, "I'll
tell you, you can go from one location to
another much more quickly. It's small and
easy.
You
can
shoot
87 - a faster
use less light and
on
stock - and you can
a smaller crew."
Much of the liveliness of the
film's look is due to the handheld camera
work, executed by McCann himself. Al¬
though 50 percent of the film was shot
handheld, he preferred to shoot without
a Steadicam. "It's not lively enough for
me, particularly in the park scene," he
says,
referring to the
scene
in which Nick
confronts Sid after Mary's sexual assault
and is beaten by Sid's boxer friend. Shots
February 1996
away.
or the other
their experience is
usually gained either through camera¬
work or through writing or editing. Ac¬
cording to McCann, the writing-oriented
director is frequently not as concerned
with the cinematography. "I've shot films
and I've written scripts, and I've also
worked with actors," he says. "But I like
-
to be behind the camera. I like to be di¬
rectly involved with the composition and
what is
seen on
the
screen.
That's got
to be
secondary to the story, though."
Although he was advised
against it, McCann chose to direct and
operate the camera. He was warned that
it would be difficult to get the best per¬
formance from his actors, but they have
received praise at most screenings. "I
don't think that was a problem, really.
The work with the actors takes place
before
we
start to roll. I don't think it
matters if you are
beside the camera or
from stand-
behind it. But it did stop me
American Cinematographer - February 1996
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