American Cinematographer - June 2001 - 99

oooo

Musco makes the

mus
We Make It

impossible... possible.

Happen,

"Having the right
gear can make
a scene come

alive
how

-

no

matter

challenging.
ability to

Musco's

maneuver over

to

rough terrain and
light difficult
locations quickly

[the quality of] Super 35."
Malena

was

produced in

Italian and features subtitles, but
there are many long scenes in which

facial

expressions, body language
images supplant the
need for dialogue. Koltai met the
principal cast just days before
production began; the only tests he

has often made
the

impossible
possible".

shot

and Koltai's

had time

to

ups of faces
in Rome.

shoot

were some

close-

Nancy Schreiber, ASC

Nationwide 888«988*6025

www.musco.com

in the Panavision office

Tornatore began

each day with
a handwritten shot list. He had a
plan
for every scene that included the way
he wanted the

camera

to

w.
Urn

>'

mm

jmsw

move,

which Koltai translated into
mic camerawork. For

rhyth¬
example, when

Malena leaves her house outside the

city and walks toward where the boys
are
hiding, the youths move with her,
grabbing glances from different
angles and directions and getting
closer as she approaches the square.
A lot of the important action
happens in the square. The ground
was

wirwounr
nr.

made of white stone, which
as a reflective surface for

Koltai used

soft bounce

light.
important to film
Monica in the best possible light,
because she always had to be
gorgeous and seductive," Koltai says.
"Giuseppe was very good about that.
If I told him the light wasn't right, he
would say, 'Okay, let's shoot some¬
thing else today.' He is a visual thinker
and a photographer, so he under¬
stood why it was important if I
"It

was

«M
00

,

I

Vancouver

film school

1.800.661.4101 vfs.com

604.685.5808



American Cinematographer - June 2001

Table of Contents for the Digital Edition of American Cinematographer - June 2001

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