American Cinematographer - September 2000 - 70

A Pocket Full of Shells
Mini-Brutes with Par 36

globes hung
internally from the top rail, four on
each side at an angle of 45 degrees.
Because they were Mini-Brutes, I had
dimming control from the ground
for every individual bar. The top
third of the box

Production

designer Maia
Javan had three-

quarters of the
Mexican

bordello exterior
constructed in
the desert
outside Salt Lake

City for the
film's final,
massive
shootout.

had built

was

lined with fire¬

for convenient

perfect,"
Pope notes. "I had a number of
fittings up there - 650s, Pups, 2Ks
and a couple 5Ks - bounced into

but if

corners

and anchored

the

ground

supplement the lightbox,

three Condors

were

hidden around

the set to provide modeling and
backlight to the frame. Mounted on
each Condor were three nine-light
Maxi-Brutes

(carried

over

from the

show's stage work) with flood globes
aimed through a frame of Lee diffu¬
sion. Though

all three never played at

placement of addi¬

front. "The motel roof

were

the four

provided

source

back part of its roof was like a flat
catwalk obscured by the angled

tethers

time, they

tional concealed fixtures, because the

could

attached

a soft,
of light.
The motel structure allowed

same

omnidirectional

proof material to protect the silk
from the lamps, and the box was
raised into place by an industrial
crane with a top
height of 120 feet
and a reach of 45 feet. To stop it from
swaying in the desert winds, wire

when necessary, well out of any shot."

big lightbox to hang over
a
large parking-lot location at night
on Who's Afraid of Virginia Woolf? I
had always wanted to try it, and here
was my opportunity.
"My excellent key grip, Arley
Thomson, and gaffer, John Farr, took
my ideas and designed a cube of 12'
x 12' silks stretched over a
speed-rail
frame. [It contained] 16 nine-light
a

the

was

Lee Soft Pebble silver reflectors. I

play those whenever I needed,
they were an embarrassment I
could drop them down out of shot. I
never
played more than one or two,

but I had them dotted around
any one of
and turned

that

them could be lifted up
on at
any time. During

the exterior confrontation among
the Mexican police, the bodyguards
and the

kidnappers, I could model

with these smaller fixtures outside of
the frame because I

was shooting
right toward the facade of the motel."

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American Cinematographer - September 2000

Table of Contents for the Digital Edition of American Cinematographer - September 2000