American Cinematographer - December 2003 - 79

the lens. He

kept the camera moving

almost all the time, and he invented
unusual

dolly by converting a
baby stroller with big bicycle wheels
into a dolly that he could ride. The
device was extremely quiet and
allowed him to dolly through narrow
spaces. He could also run with it and
raise it or lower it to capture a variety
of angles. "A moving camera was my
mantra," he says. "I felt that near¬
an

constant camera movement

added

a

of energy.

The plot is very
amorphous in the beginning, and
sense

there's

a

lot of detail for the audience

absorb. I wanted

should have been

disciplined
a long
film that represents what I was trying

and

to

cut it

more

"Movies should make you

camera

is

function of the way he or she relates
the director. If you think that as a

director, you're invisible and
detached, you're dead wrong. Your
on

the screen."

Bridges is bringing 12 directly
public through an imaginative
"guerilla drive-in" strategy. A few

to

the

it

KEM

modern Avid

editing systems available, but I
feeling of cutting
film," he says. "Some people say I

buildings, and sound is delivered
through car radios. The screenings

flatbed. "I had the

most

on

a

wanted the tactile

TECHNICAL SPECS
1.85:1

drive-in theaters. (He has also exhib¬
ited the film at drive-ins in New

York, Dallas, Austin and San
Francisco.) The images are projected

cut

concludes. "Throughout the
making of this picture, I fought
against compromise and compla¬
cency and thinking that something I
wasn't totally satisfied with was good
enough. It never is."
■

to

large parking lots in Los Angeles and
the surrounding area into weekend

and

he

a

weekends each month, he converts

at FotoKem

think, wonder and discover ideas,"

ficial time," he observes. "The actor's
behavior in front of the

skin is

advertised in local newspapers
on
the film's Web site,

www.12.TV.

"Editing is about creating arti¬

images to make them feel as
though they're participants in the
story."
Bridges processed his negative

to

in the

and

achieve.

immerse them

to

are

shorter, but this is

from

an

Avid output onto

Arri 3-C, BL-3

Zeiss

walls of

Superspeed lenses

Kodak film stocks

STUNNING IMAGERY is only the

■

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75



American Cinematographer - December 2003

Table of Contents for the Digital Edition of American Cinematographer - December 2003

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