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
■
■
,
beginning
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75
American Cinematographer - December 2003
Table of Contents for the Digital Edition of American Cinematographer - December 2003
American Cinematographer - December 2003 - 1
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