American Cinematographer - June 2002 - 96

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triangle set against the

tumult of World War II, Pearl Harbor brought
John Schwartzman, ASC his first ASC Award

nomination.

employed for shots that would
involve visual-effects work.
For the lengthy sequence
depicting the Japanese attack on
Pearl Harbor, the production was
granted permission by the U.S. Navy
to use many of the mothballed ships
moored at the base. Because the ships
were

destined

to

they didn't sink them. "It was amaz¬
ing," Schwartzman recalled. "We'd be
shooting some scenes on the USS
Missouri with airplanes flying 10 feet
away from us, while a 600-foot battle¬
ship was completely engulfed in
flames 100 yards away in the back¬
ground. After seeing that, the Fourth
of July will never be the same!"
To further enhance the visuals,

Bay and Schwartzman opted to use
Technicolor's recently revived dyetransfer process on a significant
number of release prints. "I want the
to see

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become artificial

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print looks like and realize
how spectacular the filmgoing expe¬
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can

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you're paying $9 or $10 to see a
movie, you should get the best image
you can."
For in-depth coverage of Pearl
Harbor, see AC May '01.
Christopher Probst
and Douglas Bankston
-

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American Cinematographer - June 2002

Table of Contents for the Digital Edition of American Cinematographer - June 2002

American Cinematographer - June 2002 - 1
American Cinematographer - June 2002 - 2
American Cinematographer - June 2002 - 3
American Cinematographer - June 2002 - 4
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