a mixture of science and art. The tools 'Cinematography is and technology make the sum up the from total of what makes science. The art comes person unique as expressed with that technology. I was a (director) first TV defined the style fortunate to Work with Charlie Haid show. He on my and character of Murder One the freedom to interpret it photographically. We used body language, meaningful gestures, signifi¬ cant objects and strong composition to tell the story. There was a concept that we jokingly called 'the avoidance of light.' I saturated myself with this philosophy and let it influence my work. But with all the research and preparation that goes into planning a film, and gave me I don't discover the look until the moment of photography. light to be truthful. Only the genesis of a scene can inspire that. When you think about it, light is the sole means of revealing information I want the to an audience. But Aaron Schneider has credits. He won compiled hundreds of TV commercial the 1996 ASC Outstanding Achievement Afvard for Episodic TV for Murder One. His current work is The Girls. darkness be just as important. You can put the audience on the edge of their seats by conceal¬ ing information in the shadows. Their imagination can be much more powerful than anything I light. When I finished my work on Murder One, a friend was shooting a short film on a $3,000 budget. I was his gaffer. It was as joyous a can process as shooting a big budget movie." TO ORDER KODAK MOTION PICTURE FILM, CALL (800)621-FILM http://www.kodak.com/go/motion Douglas Kirkland, 1996 © Eastman Kodak Company, 1996 VISIT OUR WEB SITE AT Photo © Kodak. The Filmmaker's Film Maker.