American Cinematographer - December 1999 - 89

risky approach, because we never
exactly what we were getting in

knew
the

We shot that

camera.

scene

things and then taking light
the second exorcism,

we

formats. We made the

another take where

use

of

burnt-out if it

the

cameras.

the

cism,
to

action,

same

bound

the

"This

to

get us

"In

terms

we

one

of them

was

something!"
of the second

exor¬

mistimed shutter

"For

bit

more

the

classical. We didn't

camera

although there
work. We dealt

too

was some
more

much,

handheld
lighting

with

me,

this film

on one

of

the biggest challenge

working with an
Academy Award-winning director of
photography," Fiore admits. "I
needed to find my niche and deter¬
mine what I'd bring to the project
stylistically. Additionally, there was
on

was

the consideration of how the film

conceived

seeing these events in present
time, so we employed setups that
move

a

the first time the audience

was

astray with strobe

more

really didn't want to take it
visually," relates Fiore.

was

were a

images go
light¬
ing, 16mm, cross-processing and the
much

would be

extreme

In

several different film stocks and

simultaneously with several cameras,
because I knew I could get one take
where there was nothing, and

everything was
happened that the
shutter fell into the wrong window
[of exposure]. We also adjusted the
frame rates during the take, so we
knew we'd get some kind of image.
With three cameras rolling covering

away.

combined

perceived from the stand¬
point of my career. Is it going to be
as

a

film that janusz

Kaminski directed, and therefore
shot

well? Based

experience
with janusz in the past, I knew that
he has a great way of balancing
people's talents and offering the free¬
dom that you need. As long as you
as

on

my

accept the

responsibility of that free¬
dom, he'll give you as much of it as
you want."
Noting that Fiore is currently
shooting the Sylvester Stallone
picture Get Carter, Kaminski con¬

In

one

film's

of the

more

stylized scenes,
Maya Larkin
(Winona Ryder)
and Father
Lareaux survive
a

bout with

cludes, "Mauro's work in Lost Souls is

possible

provocative and very artistic. He has
visually created the bleak but beauti¬

the devil

ful world that I wanted

to

see."

incarnation of

himself.

■

Kino Ido's innovative True Match

Lighting Systems give you Ihe look of
quartz or daylight, but without the
heat. Controllable, ixirtable and dur¬
able, Kino Flos pack a powerful punch,
yet run on an energy-lean diet,

10848 Cantaro Street Sun

818-767-6528, Volte

a

Valley, CA 91352
818-767-7517, Fa*



American Cinematographer - December 1999

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