American Cinematographer - November 2002 - 36

Certain

Microsoft to

companies are
clamoring to
keep source

partici¬

pate in the documen¬
tary, but he did find out

code from

about

becoming free.

which

Microsoft would

a

1976 letter in

Gates

Bill

widescreen format

was

an

because it enabled viewers to
the

advantage,
see more

of

subjects' environments. "I shot them

more than medium-close," he says.
"[That perspective] can be powerful -
you can get a greater sense of the people.
It's like you're sitting across from them,
and that helps build a relationship
no

manage to track
down a copy of

passionately discussed
his beliefs about why
people should main¬
tain ownership and

1976 letter

control of the software

ters."

they develop. Moore
tracked down a copy of

keep costs down, Moore shot
using short ends and
recans; he used two Fuji stocks, Super F500 8572 and Super F-125 8532. Fie was
very pleased with the results, though he
notes that reds punch out and reproduce

participate

not

in Moore's film,
but he did

a

written

by Bill

Gates that

stated why

the

people needed
to maintain

letter

Stanford

ownership and

in

the

University

archives and used it in

control.

end, he used only about three minutes of

the film. "The letter allowed

me

to

information that he

present [Microsoft's] point of view, so

his interviewees. "That's
one of the strong points of the film," he
notes. "It's not a journalistic piece like
you'd see on the news, with a reporter
doing stand-up and being part of the
story; it's history. It's the story of how this

could understand what all these
other guys were responding to."
Because the subject matter didn't
provide numerous possibilities for B-roll
footage, Moore knew his interviewees

narration to

cover

couldn't get from

movement

started, who started it and

why."

you

would have to be his main visuals, and
that he would have to hold

longer than
Moore could not get anyone

from

this case,

on

them

TV documentary might. In
too, he felt that shooting in a
a

between the audience and the charac¬
To

Revolution OS

better

on

Kodak stocks.

The

production

phase
of
During that
time, Moore traveled from Los Angeles to
Silicon Valley every five to six weeks.
When he was shooting interviews, he
took Los Angeles camera assistant Ryan
Jay with him and hired Northern
California sound mixer Stephen Balick,
who specializes in documentary work. For
Revolution OS lasted

a

year.

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American Cinematographer - November 2002

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