American Cinematographer - September 2000 - 71

To throw

some

light into the

actors' eyes, either Pope or the
would handhold a variety of
Kino

Flo

2900°K

units

(equipped with

tubes) next to the

The 2900°K tubes

gaffer
small

were

cameras.

used almost

exclusively throughout the film.
A scene in which Longbaugh
has a congenial tete-a-tete with Sarno
in the motel bar presented Pope with
another situation in which the light¬
ing wasn't directly motivated by
practical sources. "We employed a
long length of string light cable with
screw-in holders

[similar to those
sites,]" the

undo them if

Zips

used

a

the concerned

clash in

a

parties gather and
(except the

hail of bullets

Chidducks,

of

course,

who

sit

comfortably in their home awaiting
the safe return of their baby - and
their money). Javan constructed the
exterior bordello set in the desert and

cinematographer details. "I strung
the cables right around the bare joists
in the ceiling and then put in 75-watt
PH 11 photoflood bulbs. There was
no
ceiling, just bare joists. I was able
joists and bounce them
off little pieces of white-sided black
wrap stapled to the wood. We could

deal

dated Mexican bordello, where all of

When

between the

to

place in the hot sun at an old, dilapi¬

built

hide all of these small bulbs

few small Kino Flos

with [the two characters] at the bar."
The final showdown takes

used around construction

to

they were in the shot.
the lighting from
the windows. I then

gave me
outside through

realistic interior on stage.
coupled with Pope's detailed
lighting, the combination could fool
even the most scrutinizing eye. "That
was a great set," Pope enthuses. "The
a

very

extensive interior

was

constructed

so

that

you could actually travel
through all of the rooms in one hit. I
lit the bordello entirely with tungsten
lighting and not HMIs, primarily to

exploit the warmth and control of
the tungstens. I didn't have to use an
81EF filter [on the camera], although
I still employed my warming filter,
albeit a light one, on the lenses."
Despite the hectic gun battle
going on, the filmmakers managed to
maintain tight continuity. "Most of
[those sequences] were storyboarded
and very well-rehearsed, with tightly

Surrounded

by

crewmembers,
the

kidnappers

lie battered and
bloodied. Pope
needed nets,
silks and hard
and soft
reflectors to
control hard

sunlight and
brighten shadow
areas.

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American Cinematographer - September 2000

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