American Cinematographer - December 1999 - 29

several occasions, "The film can

only be
long - should the camera be
lingering so much on the landscape?"
Serving as his own camera
operator, Sarossy shot the film with
Panaflex Platinum cameras, using

so

Panavision's

new

close-focus Primo

anamorphic lenses. He explains, "With
older anamorphic lenses, the

the

minimum focus tended to be around four
five feet, and if

you're shooting a lot
on
location, particularly in smaller
places, that can be quite a
disadvantage." He generally employed
prime lenses, although he would
occasionally use the 11:1 Primo zoom in
the studio for dolly shots. Sarossy used
or

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Kodak's Vision 500T 5279 stock for
interiors (shot primarily in
famed Shepperton Studios),

London's
generally
shooting with an aperture of T5.6. For
daytime exteriors, he employed Kodak's
EXR 5248.

When it came to selecting focal
lengths, the filmmakers sought to strike
a balance between the storytelling
advantages of widescreen - e.g.,
creating a background drama that would
add dimension to the foreground action
and the beautifying properties of long
lenses, which isolates an actor's face by
throwing the rest of the frame out of
focus. Since the film focuses primarily
upon the interaction between Felicia and

-

Hilditch, much of the action is covered in

single shots of the actors Cassidy and
Hoskins. Sarossy submits, "We wanted
to populate the empty part of the frame
with pertinent information. Whenever
Hilditch is in the frame within his house,

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Shooting Hoskins' close-ups with
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mostly in the 40mm to
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to maximize the frame, while visually
amplifying the ugliness that becomes
apparent in his character. "It was less
flattering for him," the cameraman
-

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face

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27
American Cinematographer - December 1999

Table of Contents for the Digital Edition of American Cinematographer - December 1999
