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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