American Cinematographer - December 2005 - 66

A

Truly Fantastic Wardrobe
battle

First

scenes.

AD

K.C.

Hodenfield did a fantastic job organ¬

izing the whole thing."
McAlpine notes that he isn't
intimidated by the size and com¬
plexity of such sequences. "It just
comes down to planning. It's pretty
obvious that you can't stand on the
side of an alpine mountain in the
center

of New Zealand's

Island and

scream

for

an

South

18K and

then expect the crew to simply pro¬
duce it for you. Dealing with this sort
of situation is

a

combination of

establishing well beforehand what
you're going to do, being able to
think on your feet and, I suppose, a
bit of luck."
Another difficulty was the
notoriously temperamental New

Zealand weather. "It's
Above: Edmund
and Peter canter

through the
countryside.
Below: During
filming of the
climactic battle,
green

leggings

were

used to

obscure extras'

legs

so

they

could be

replaced with
digital limbs

the

of Narnian
centaurs.

62 December 2005

"Wuthering Heights" to

some

of the

climbs.

"Shooting

an

extended battle

sequence on Flock Hill was a real test
for everyone," says McAlpine. "The

simple logistics of setting up base
camp and shooting on the hill there
were
staggering. The generators had
to be lowered into position behind
huge boulders by giant Russian
cargo helicopters. Shipping crates
were used to store the equipment

each

night, because there was simply
no
way to take it out again. Safety
was a paramount issue; not only was
the landscape potentially a danger,
but we were running a lot of power
cables and using large lighting units.
There was a multitude of helicopters
that flew the

each

crew

and

cast

in and

day; I think our crew num¬
bered 400, including the people
servicing the location, and there
were about 250 extras for the bigger
out

weather's hostile

not

it's

that the

perfect at
least six times a day!" jokes
McAlpine. "The weather in that part
of the world is amazingly unpre¬
dictable; it runs the gamut of almost
everything imaginable. The whole
time we were up on Flock Hill, we
only had one occasion in which the
weather was good enough to shoot
all day. But changing weather is
always the bane of shooting exteri¬
ors. It's something
cinematogra-



American Cinematographer - December 2005

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