American Cinematographer - June 2001 - 56
Wonder Woman
The
production
created the
interior of the
ground that
Indiana Jones
was
covered in the
films. I didn't want any
London's
sand, pyramids, or anything yellow,
and we didn't put in snakes, boats,
rats or mummies coming out of
Pinewood
walls. I chose locations and environ¬
Temple of
Dancing Light on
a soundstage at
Studios. The
design
was
based
on a
magnificent
temple in the
jungle city of
Angkor,
Camobodia.
ments
that aren't in any
of those
other films. Also, the Indiana Jones
films
are period pieces set in the
1930s, [whereas] this is a contempo¬
rary piece - if not a slightly
end of contemporary. We
higher
could
therefore take advantage of technol¬
ogy and different environments to
separate us from what had already
been done."
"Super contemporary" is how
production designer Kirk Petruccelli
(Blade, Mystery Men, The Patriot)
to
stay away
[Menzies] could really make sing
the
screen."
Menzies
on
adds, "We
make Tomb
worked to tweak the action to suit the
story elements, and not the other way
films. We wanted
great impression of what the film
should be, and he gave me some key
Raider
metaphors and ideas to work from.
He said, for example, 'No dust!' He
from The
global, powerful and exciting.
We went for ancient reality smashed
together with the super-modern, and
describes the film's look. "Simon had
a
54 June 2001
wanted
Mummy and other period adventure
I tried to create
to
[sets] that Peter
around. Simon
the rules early
magic
and reality in the same breath."
on
set up
for how we would deal with
American Cinematographer - June 2001
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