American Cinematographer - April 2001 - 41
almost
if they're
participants. The
technique might change on
every picture, but I think you need to
keep as many options as possible
open to you. Whether it's a contem¬
porary story or a period story is irrel¬
evant. It just seems like when you're
surrounded by all of the story's visual
elements
great sets, costumes and
everything else - you want to
occupy the best seat in the house, so
to speak. At the same time, you don't
as
actual
-
want to
be
so
far into the
scenes
worked fine, and sometimes there
delays. If we requested a certain
piece of equipment, we had to do it
well in advance. It all went fairly
smoothly, though, because our
producer, Mark Huffam, had things
were
rocks. We very seldom
crane track on level
laid dolly or
ground, but
Kenny Atherfold, Phil Kenyon and
the rest of the grip team were inge¬
nious in the different ways they could
lay track and how quickly they could
do it.
well in hand.
On
island
the
itself,
Camera
Peter
interesting
Steadicam moments navigating
sharp rocks and uneven terrain. In
addition, Mick Morris and the light-
we
The terrain
cult
to
uneven
interesting challenges.
could be extremely diffi¬
deal with because it
and full of
was
operator
Cavaciuti also had
encountered
very
sharp, jagged
some
that
can't see the larger picture, so I
strike a balance between the
viewpoint of a participant and an
observer. I think striking that balance
you
mJ'
try to
is what makes all the difference in
terms
of
establishing
a
rjl
rjrI
certain flavor
viewer, you want to
feel that the situation is real, while
Foundation!
feeling somehow that the
onscreen events are being presented
New Gear
or
texture; as a
not
to
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In
trying to strike that balance,
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much as possible
about how we'll approach a
sequence. Meanwhile, in the back of
my mind, I'm trying to stay open to
any new ideas that seem to work for
the story. I don't see a need for limi¬
tations on which techniques we
to
predetermine
choose to
use.
as
And
that's what makes it
so
to
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tcsfilm. com
be honest,
much fun.
Did the location
cause
any
logistical problems?
Toll: Being on an island meant
that we had to plan much further
ahead for any special equipment
needs. Almost everything needed to
be shipped in by ferry, because it was
almost impossible to air-freight
anything to the island. Most of the
equipment would come from
London, and it would be driven to
Italy and then put on ferries and
shipped to the island. Sometimes this
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American Cinematographer - April 2001
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