American Cinematographer - March 1997 - 71

light

over the body.
The area was then con¬
verted into the basement bach¬
elor pad belonging to Sandra's
obsessive

boyfriend, Matt (Pe¬
Outerbridge), a medical
school dropout. Remarks the
ter

director, "Matt's apartment was
supposed to be orangey and

wood-paneled, claustrophobic
and hot." Middleton says that he
achieved the humid ambience by
employing strong gels; all scenes
were

shot with

straws

so

a

full CTO and Vi

that the

apartment ap¬

peared "warm and cozy, almost as
if you're sweating in there."
During postproduction,
Stopkewich teamed with John
Pozer and Roeck to edit the film.

For

hot-lights upto

lighting

1000 watt like the
Starlite 3200M

She says the trio was
the point of "going

meticulous to
through and
logging every single frame of the
16mm workprint that had any dust
on

it when

we

started to do

Silverdome FV
New

our

sane,

but in the end it worked out

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really well. After we got the
blowup back they basically said it
was the finest
regular 16mm
blowup they'd produced in 10
years." Middleton concurs, noting
that much credit for the

success

Accessory kits: Stripmask,

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blowup. It was a 17-page log. The
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Stopkewich also utilized the lab's
vertical scanning machine, which

-

allows each shot to be scrutinized

individually. "I changed the scan¬
ning marks 175 times, and that's
very expensive," says Stopkewich.
"But it was important to me that
the footage looked properly
framed."
In the

end, such excruciat¬
ing efforts were necessary to pro¬

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about this character. Any technical
glitch might take them out of the
story completely. It's really impor¬

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69
American Cinematographer - March 1997

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