American Cinematographer - January 2000 - 94

'Making Miracles
Visual effects lend ambience to The Green Mile.

by Ron Magid

the

results. As Darabont notes, "If the

Darabont, who has now adapted

audience thinks, 'That's

his

Mile, after his celebrated first
effort, The Shawshank Redemption.

special effect,' that's a danger. In fact,
after an early test screening, I cut a
couple of effects shots from the film.
Although they were well-done, they

But while Shawshank offered

threatened to take the audience out of

Iightning may very wel strike
second

Stephen Kingpenned prison drama, The

Green

a sense

of realism, The Green Mile mixes its

gritty story with a touch of fantasy
provided by Matte World Digital
Rhythm & Hues, Industrial Light +
Magic and POP Studios.
Of course, the film's fantasy
elements could easily have softened
92

January 2000

story's edge, with detrimental

twice for director/writer Frank

a

wonderful

the movie."

visual

effects

supervisor Charles Gibson

oversaw

Green

Mile

the film's 75 effects shots to

that

ensure

they remained as naturalistic as
possible, considering that the story
revolves around John Coffey, a seven-

foot-tall inmate with

supernatural
"You have to understate [the
effects]," Gibson says. "They are
shocking and very unexpected when
you see them, but we strove as often
as possible to create effects that
powers.

reflected the sometimes dark and

brooding tone of the picture. What
helped us was the originality of the
effects as they were described; we
looked for techniques that hadn't
been

seen

before."

Creating the Gothic atmosĀ¬
phere of the prison itself fell to the
maestros at Matte World Digital (The

DWMigaocottrualefrdt.esy
Images



American Cinematographer - January 2000

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