American Cinematographer - March 1996 - 101

Landon), / Was a Teenage Frankenstein,
How to Make

a

Monster anti others.

The

quality of the product
perked up beginning in 1960, when long¬
time AIP producer-director Roger Corman
made House of Usher, the first of a se¬
ries of features based on stories by Edgar
Allan Poe. These pictures, imaginatively

photographed by Floyd Crosby, ASC and
others in color and widescreen pro¬

built a well-deserved following.
Among the actors in the Poe features
were such stalwarts as Vincent Price,
Boris Karloff, Peter Lorre, Basil Rathbone,
cesses,

Lon

Hiring Lens Technician
The
maintaining
and repair¬
ingjob:
our rental
lenses. We'd
prefer
someone

experienced with Ange-

nieux and Cooke zooms; or we could
train you to work on those lenses.
Good pay, based on experience;

profit sharing; medical benefits.
This is a permanent, full-time job.
We use Zeiss MTF machines, Rich¬
ter collimators, a Zimmerman T
stop bench and 2 Century Precision
projectors (in dedicated rooms) to

keep

our

than

new.

>1

lenses like new or better
We're perfectionists here,
so you have to enjoy working to
that high standard. Please mail
your resume to Greg Reilman.

434-3

CLAIRMONT
CAMERA
LANKefcSHiM, NORTH

HOU-HMOOO, CJXU. F.

1

Chaney Jr. and Ray Milland. The tal¬

ent both behind and before the cameras

became

increasingly impressive until, in

1978, AIP merged with and was soon
absorbed

by Filmways.
In vastly revising and enlarging

his 1984 version of Fast and Furious,
Mark McGee has produced a detailed
and

penetrating look at AIP and most of
personnel who were deeply involved
with it. It includes a wealth of amusing
anecdotes, an extensive filmography and
plenty of photos, adding up to a valuable
history of the production company.
the

THE

TOUGH.CUSFOMIZABLE,
LOW-COST, LIGHTBANK
ALTERNATIVE
Easily fitted to

any

lamphead with

barn doors, LCD is the inexpensive
alternative to "frame and fabric' cones.

Designed for real working conditions,
LCD's simple construction and multi¬
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light to make any snot.

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For information,
call 800-692-2787, or
fax 818-504-6180

Pasolini

Requiem
by Barth David Schwartz
Vintage, 785 pps.,
paper, $17.85
On the

morning of November

2,1975, the corpse of Pier Paolo Pasolini,
Italian novelist, poet and filmmaker, was
found in an open field in Ostia. Fie had
been beaten and kicked repeatedly and
run over once or more by his
His assassin was a boy street

finally was
own car.

hustler,

one

of many with whom Pasolini

had consorted over the years. This event
is as much the starting point as the finale
of Schwartz's expansive biography, a

deep look into the conflicting beliefs and
ideas that fed Pasolini's creativity.
Pasolini Reguiem, first pub¬
lished in 1992, is now available in a pa¬

perback reprint. It's a formidable piece of
provides considerable insight
into the thinking of one of Italy's most in¬

work that

fluential and controversial minds. The
director's films include The Gospel Ac¬

cording to Matthew, Oedipus Rex, Me¬
dia, The Decameron, The Thousand and
One Nights and Salo, or the 120 Days of
Sodom. His story is interesting and dis¬
turbing.
4

Recognize this lens?
It's the

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extensively re-engineered Canon's
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Feature Attractions.
We combine Canon's optics
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integrates with today's followfocus units & zoom motors.
Feel precision in every move.

Each

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Markingsarelarge,clear, & bright.
The new lens accepts
Century's TeleFx Rear Filter Stage.
Telefx's 2 enclosed stages yield
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To find more, call Jeff Giordano:

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Star

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The Academy of Motion
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precision optics

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Tel: 818-766-3715
Fax: 818-505-9865
American Cinematographer - March 1996

Table of Contents for the Digital Edition of American Cinematographer - March 1996
