American Cinematographer - December 2001 - 30

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Writer-director Danis Tanovic and

cinematographer Walther Vanden Ende
check a shot on a monitor. To dip into the
trench, the production used a PeeWee
dolly mounted with an Aerocrane arm.

.

.

Accept MC & VISA

Some of the film does take

place

outside the trench: in Serbian and
Bosnian camps, at U.N. headquarters,
inside a Belgium TV station and traveling

along the road with a U.N. tank.
International journalists descend upon
the site like a swarm of flies, circling
Marchand and the tanks but staying well

Hybrid is indeed the result of many pecu¬
place of the usual
dollies and cranes, McCollum adapted
the devices around him, utilizing manure

According to Vanden Ende, the
chaos in this scene was
accomplished through blocking and stag¬
ing rather than camerawork.
A particularly striking shot occurs
sense

of swirling

the

end

of the

film

as

Jane

and video

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liar inventions. In

loaders, skateboards, turntables, rope

pulleys, janitor's brooms and various
homemade motors.
Like many

has been moved to

pher's suggestion to shoot the nowempty foxhole, she declares, "All

laugh¬
ing. "People look at you and you can tell
they're totally disinterested. Sometimes I

trenches look alike." In fact, the bomb
has not been defused, and the soldier

lying on
rolls up

it has been abandoned. As Jane
her car window and drives off,
Marchand, the closest thing to a hero the
film has, is reflected in the glass. "That
shot was a lucky accident," admits
Vanden Ende. "We were standing there
trying to figure out how to link the char¬
acters of Jane and Marchand. It was the

end of the
CJ~NGKfNGTfC

get shots," McCollum says. And

idiosyncratic films,
Hybrid doesn't lend itself to one-liners. "I
have a ven/ difficult time describing
the film, because it sounds cheeky:

safety. In a final irony,
she doesn't bother to check the accuracy
of the report. Dismissing her photogra¬

CINESADDLE for

ways

threat.

been defused and the Bosnian soldier

Weighs 1-1/2 lbs, 1 cubic foot in size.

new

to

Livingstone, the British TV reporter who
sparks the media stampede, leaves the
site after being told that the bomb has

everything your
tripod does but better. It also works as
a dolly and crane besides being a car,
bike, boat and helicopter mount.

"It's kinda fun to invent

clear of the trench because of the bomb

at

The Cinesaddle does

making his first feature,
inspiration
from
some
unexpected places:
Kurosawa, Tarkovsky, Flaherty and
Nebraska farmers. The young filmmaker
liked the way the farmers used whatever
parts were at hand to solve myriad
mechanical problems.
Having spent summers on his
grandparents' farm, McCollum, now
based in upstate New York, soaked up
this spirit of shoestring inventiveness
and put it to good use to make Hybrid,
an experimental documentary about his
grandfather, Milford Beeghly, who
developed hybrid corn in the 1930s.
McCollum adopted Beeghly's use of
jerry-rigged, handmade and recycled
tools and applied them to his cine¬
matography.
Monteith McCollum took his

day, and all of a sudden I

saw

'It's about
corn

an

old

man

and his love for

....'" McCollum breaks out

start out

with, 'It's about this man's love

for his corn, but you've got a very sexual
side to this ....' That gets them inter¬
ested. Then I say,

'But it's really not about

that, it's about....'"
Four years

in the making, Hybrid
hybrid creation. It's partly a
portrait of Beeghly, who had an avid
interest in hybridization at a time when it
was considered a wicked kind of plant
incest. As a bio of the prescient farmer, it
is itself

a

the reflection of the U.N. tank in the

contains

glass. We moved the tank to a slightly
better angle and got the perfect shot."

Beeghly's corn seed, recent footage of
him inspecting his corncobs and waxing

old

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for
American Cinematographer - December 2001

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