American Cinematographer - October 1997 - 85

ACADEMY AWARD® WINNER
about the human condition. Com¬

L Y/NG

panies like HBO and TNT put their
money where their mouths are."
Miss Evers' Boys recounts
the horrifying, true story of the socalled Tuskegee Experiment, in

® jHJSEKJEmEJv

MOVING-CAM

*

which the U.S. Government Public

Ph.

Health Service withheld treatment
from a group of African-American

suffering from syphilis. The
experiment began in 1932 and con¬
men

tinued until 1972, when a press re¬

port brought it to public attention.
The resulting outcry forced a halt

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to the

study and prompted Senate
hearings on the matter.
"Joe is a very visual direc¬
tor, and he wanted the film to have
sort of blown-out look, like the
old black-and-white photographs
he had of the time period," ex¬
a

plains Morgan. "Not being able to
go black-and-white for television, I
talked to Don Henderson

over

J.L.

Fisher, Equipment
Inc.

Motion Picture and Television

at

Kodak, and he suggested that I use
Vision 320T

Model

my main stock. I
liked it because I found that it

Eleven Dolly

as

wasn't

and it

as contrasty as other films,
really bites into the dark ar¬

With older stocks, when you

eas.

light from only
a

half-lit face

one side you have
the other half is

-

totally dark. Vision 320T allowed
to light that way but still see de¬
tail, such as the eye on the other

me

side of the face."
The filmmakers wanted to
evoke the feeling of the impover¬
ished areas of the South, so Morgan
utilized a Super Frost 2 filter and a
tobacco filter, which gave a warm
tint and produced the exact look
the filmmakers envisioned. Few

people had electricity in those poor
instead, they relied upon
candles and oil lamps. Morgan
areas;

used

a

lot of dimmers and flicker

generators to simulate the light, as
well

the

glow from fireplaces.
hospital rooms, when
doctors were examining patients,
we tried to
just have little pools of
light so it didn't look real up-todate," he says. "I think you can
bend the look when you underlight
things."
Morgan notes that he saw
the feature Last Man Standing right
before starting Miss Evers' Boys, and
was impressed with fellow ASC
member Lloyd Ahern II's penchant
for shooting through old glass. "He
as

"Even in the

did

a

great job, shooting a lot of stuff

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American Cinematographer - October 1997

Table of Contents for the Digital Edition of American Cinematographer - October 1997

American Cinematographer - October 1997 - 1
American Cinematographer - October 1997 - 2
American Cinematographer - October 1997 - 3
American Cinematographer - October 1997 - 4
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