American Cinematographer - February 2007 - 73
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of the show's trick shots look
"Sometimes I'd think it was
going to take 17 or 18 takes to get a
ball to go into a certain hole, but
easy:
then we'd nail it in two takes!"
By contrast, Ballhaus did
endless takes with director James L.
Brooks
Broadcast News (1987;
on
April '88), but was rewarded
with his first Academy Award nom¬
ination. "Jim is very, very good, but
AC
he does
done
a
lot of takes
-
I've
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never
takes with another
director," he says, noting that the
film
as
was
many
shot
at
about 40 locations
in and around
Washington, D.C.
appreciated the fact that I never
used a lot of setup time; the whole
newsroom set was basically pre-lit,
studio
"He
so
he had
cranes
arms
bases
equipment, inc. EL.n
remote
systems
dollies
pedestals
lot of time to work with
a
the actors."
In
1988,
reteamed
Scorsese
Ballhaus
on
and
The Last
Temptation of Christ, which had
resurrected with
been
a
much
smaller
budget and a tight 60-day
schedule. Shooting on location
amid the soft, dusty light of
Morocco, Ballhaus and the crew
worked very long days to help
Scorsese achieve his passion project.
"It
was tough, and we all worked
really hard, but we did it for Marty
because he wanted to make the
movie
so badly. There was a great
atmosphere on the set. Every morn¬
ing we started rolling with the first
light, and we were still shooting
when the
sun
went
down."
Scorsese notes that he and
Ballhaus relied
one
on
faith
to
capture
of the film's most memorable
shots, which approximates Christ's
point of view as he is raised up on
the cross. "I designed that shot on
paper, but then we had to figure out
how to do it with the actual cross,"
the director. "Once we deter¬
mined the best way to mount the
says
camera, we
because
and
we
had to hope for the best,
didn't have video assist
could look
through the
doing it. I origi¬
nally had around 75 setups planned
no one
lens while
we were
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