American Cinematographer - October 1996 - 49
base for the continuing produc¬
tion of The X-Files. With a wealth
of resources and expert Canadian
crews at his
disposal, Carter
sought once again to utilize the
city's chameleon-like locales, en¬
listing the aid of several X-Files
veterans for Millennium. First
board
on
director David Nutter,
who has worked with Carter on
was
The X-Files since its first season
and directed 15 episodes of the
show.
Inspired by such psycho¬
logical thrillers as Angel Heart,
The Silence of the Lambs and Seven,
Carter and Nutter set out to find
cinematographer with a fresh
eye and the ability to render a
look never before seen on televi¬
sion. Their intense quest for
candidates led to Edmonton,
Alberta-based director of photog¬
a
raphy Peter Wunstorf. "David
made a long list of people he
he elected to
wanted to work with, and I
learned a long time ago that you
ing on features filming in the area
and shooting any assignments he
signer Gary Wissner - who inci¬
dentally was the art director on
Seven
referenced not only
Darius Khondji, AFC's eerie illu¬
always start at the top," explains
could find.
mination of that film and Michael
Wunstorf first gained
recognition as a director of pho¬
tography for his work on the low-
Seresin's harrowing visuals in
Angel Heart, but other select films
Carter. "Peter
was
recommended
by Paul Sarossy, CSC,
whom we also pursued but was
to us
not available. Peter is
a
ing projects to come along. This
one
happened to appeal to him. I
think he made his choice to work
the project after reading the
on
hearing what
complish."
we
us
and
wanted to
ac¬
Wunstorf had known that he
wanted to work in films since the
age of 12, when he saw Stanley
Kubrick's A Clockwork Orange, the
infamous tale of futuristic cruelty
photographed by John Alcott,
BSC. Wunstorf experimented by
shooting on Super 8, and after
graduating from high school he
landed a job at a local television
station in the town of Red Deer.
Soon
enough, he moved on to the
Broadcasting
Corporation), where he got
daily camera experience shoot¬
ing 16mm news footage on color
reversal film. After a three-year
stay as a television cameraman,
CBC (Canadian
-
that contained
true art¬
ist. The way I perceive him is that
he is willing to wait for interest¬
script, meeting with
move into the realm
of freelance camerawork, assist¬
ness
"I think
people
imagining
going to be a
are
that Millenium is
a
certain stark¬
and drained color
palette. Among these
titles, Wunstorf cites
'serial-killer-of-the-week' show,
which it isn't. With this series I
really want to explore the
problems with culture and
society, the nature of evil, [and]
the nature of goodness, heroism
and spirituality."
Calamity) is
appraised as a
victim by the
twisted literary
aficionado/
serial killer,
holding
doomsday
predictions
seen
up
scribbled in
Deakins, ASC's
David Nutter
mono¬
chrome patina in The
Shawshank Redemption
as
French
on
the
nature of the
scene,
director
offers, "I
thought
Millennium
a
was
real test in
restraint and
overdoing
anything. I
not
wanted to
achieve the
same
and
caliber
quality of
The X-Files,
while giving
this show
a
strong 'feature'
look and feel."
the series. Both he and David
discussing the look of
Nutter wanted the show to have
sort of
Millennium, Carter, Nutter,
a
Wunstorf and
matic
October 1996
(appropriately
named
peep-booth
glass. In regard
to the risque
-
In
strip-club
dancer
Barry Sonnenfeld's
lush photography in
the gangster period
piece Miller's Cross¬
ing, as well as Roger
being influential.
Additionally, the film¬
series creator Chris Carter
makers also pored over
budget, black-and-white feature volumes of books, including the
The Grocer's Wife, which was se¬
works of photographers Robert
lected to open Critics Week at the
Frank and Joel-Peter Witkin (par¬
Cannes Film Festival. Fie earned
ticularly Witkin's compilation of
a nomination for a Genie Award
crime scene photography, en¬
titled In Harm's Way).
(Canada's equivalent of the Os¬
car) for his subsequent film,
Says Wunstorf, "Chris
Double Happiness. His other
Carter is very visual and very de¬
credits include the films The
manding. He was also very much
in on the overall visual design of
Michelle Apartments and Road to
Saddle River.
A
production de¬
desaturated, monochro¬
look, but at the same time
American
Cinematographer
47
American Cinematographer - October 1996
Table of Contents for the Digital Edition of American Cinematographer - October 1996
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