American Cinematographer - April 2000 - 55

that many

The film's final, nocturnal

confrontation between Corso and

of horror and humor reaches its apex

Balkan

in

think it

was a

people are going to
special effect!"

ettes

don't

camera

China

lights for the warm look of
fire inside. For the exterior, we used
with

Dino

lights. I used
straight 3200K tungsten light with

a crane

no

two

blue filtration whatsoever. I like

my night scenes to be very
with a silvery white quality of

dark,
light.
I don't like blue at all for nights,
although there are a lot of really
good cameramen who still use it.
Their night scenes are often very

an

flames in the
a

substantial distance away

from the actors,

Khondji was forced
cleverly camouflage his lighting.
"We hid several China lights very

to

well behind rocks
actors

"The

with

warm

rest was

to

illuminate the

light," he explains.

done with

a crane

and

Dino

lights on the castle. I used
huge lights, but they're hardly
readable in the finished film. I just see
nights as very dark. I feel that 90
percent of the night scenes I see in

two

these

overlit."

beautiful, but where is this blue

movies

streak of light

Khondji's less-is-more attitude
about night scenes mirrors his
current approach toward cinematog¬
raphy in general. "The older I get, the

coming from? Maybe
it's a question of the stylization of
the night, but when I look out the
window at night, I see lights, silhou¬

Devil, Balkan
adds fuel to the
fire.

over-the-top,
Corso and
engulfed in
background. With the

recalls. "We used

lot of the red

devotion to the

amusingly

outdoor tryst between
The Girl as the castle is

a

by his burning

see

staged at still another
breathtaking castle in southwest
France. "It was an incredibly
haunted-looking place," Khondji
was

Overwhelmed

of trees and

pools of color - I
any blue."
Polanski's high-wire balance

sure

are

I simplify and purify," he states.
"Every time I do something that is a
bit too complicated, I'm unhappy.
Usually I'm frustrated with myself
when I put up too many lights."
■
more

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USA 310>581*9276

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flycameuro @ sky net. be
49



American Cinematographer - April 2000

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