American Cinematographer - March 2017 - 67
arranges for resources and supplies,
contacts local rental houses, and oversees the building of the major sets," says
Zeitlinger.
On Rescue Dawn, the main set
was a large prison camp in the middle of
the jungle. As is generally the case on
their productions, the cinematographer
and other crewmembers arrived a mere
two weeks before the start of production, by which point almost everything
was ready. Bergfelder, though, arrives on
location "a long time" before everyone
else; as he explains, "A long time
[usually] means months. In the case of
Fitzcarraldo, I spent three years altogether in the jungle of Peru. For Where
the Green Ants Dream, I spent three
months in Australia; for Queen of the
Desert, three months in Morocco; and
for Salt and Fire, two months in
Bolivia."
Occasionally, especially on
features, disagreements can arise with
investors or studio executives. On Rescue
Dawn, Bergfelder was just about to age
the sets when he was told his services
were no longer required. "The prison
huts were abandoned freshly painted,"
notes Zeitlinger wryly. "To protest Uli's
absence, the local crew refused to work.
Fortunately, Uli had left behind a few
machetes, so my first AC and I grabbed
them in a cloak-and-dagger operation
and aged the huts while Werner was
talking to the newly arrived Christian
Bale about his character."
On American films, the size of
the crew and the amount of equipment
are usually a reflection of the budget; to
Herzog these are tactical, aesthetic decisions. The director prefers working with
a very small crew and only the most
essential gear. "On Cave of Forgotten
Dreams we had a generous enough
budget to take a large crew and heavy
equipment," recalls Zeitlinger, "but
Werner wanted neither. Access into the
Chauvet Cave in southern France was
through a single, very narrow entryway;
'more' people and gear seemed unreasonable to him. Even shooting in
stereoscopic 3D, he limited the crew to
➣
five."
http://cinematographyelectronics.com
http://www.backstageweb.com
http://www.theasc.com
American Cinematographer - March 2017
Table of Contents for the Digital Edition of American Cinematographer - March 2017
Contents
American Cinematographer - March 2017 - Cover1
American Cinematographer - March 2017 - Cover2
American Cinematographer - March 2017 - 1
American Cinematographer - March 2017 - 2
American Cinematographer - March 2017 - Contents
American Cinematographer - March 2017 - 4
American Cinematographer - March 2017 - 5
American Cinematographer - March 2017 - 6
American Cinematographer - March 2017 - 7
American Cinematographer - March 2017 - 8
American Cinematographer - March 2017 - 9
American Cinematographer - March 2017 - 10
American Cinematographer - March 2017 - 11
American Cinematographer - March 2017 - 12
American Cinematographer - March 2017 - 13
American Cinematographer - March 2017 - 14
American Cinematographer - March 2017 - 15
American Cinematographer - March 2017 - 16
American Cinematographer - March 2017 - 17
American Cinematographer - March 2017 - 18
American Cinematographer - March 2017 - 19
American Cinematographer - March 2017 - 20
American Cinematographer - March 2017 - 21
American Cinematographer - March 2017 - 22
American Cinematographer - March 2017 - 23
American Cinematographer - March 2017 - 24
American Cinematographer - March 2017 - 25
American Cinematographer - March 2017 - A
American Cinematographer - March 2017 - B
American Cinematographer - March 2017 - 26
American Cinematographer - March 2017 - 27
American Cinematographer - March 2017 - 28
American Cinematographer - March 2017 - 29
American Cinematographer - March 2017 - 30
American Cinematographer - March 2017 - 31
American Cinematographer - March 2017 - I1
American Cinematographer - March 2017 - I2
American Cinematographer - March 2017 - 32
American Cinematographer - March 2017 - 33
American Cinematographer - March 2017 - 34
American Cinematographer - March 2017 - 35
American Cinematographer - March 2017 - 36
American Cinematographer - March 2017 - 37
American Cinematographer - March 2017 - 38
American Cinematographer - March 2017 - 39
American Cinematographer - March 2017 - 40
American Cinematographer - March 2017 - 41
American Cinematographer - March 2017 - 42
American Cinematographer - March 2017 - 43
American Cinematographer - March 2017 - 44
American Cinematographer - March 2017 - 45
American Cinematographer - March 2017 - 46
American Cinematographer - March 2017 - 47
American Cinematographer - March 2017 - 48
American Cinematographer - March 2017 - 49
American Cinematographer - March 2017 - 50
American Cinematographer - March 2017 - 51
American Cinematographer - March 2017 - 52
American Cinematographer - March 2017 - 53
American Cinematographer - March 2017 - 54
American Cinematographer - March 2017 - 55
American Cinematographer - March 2017 - 56
American Cinematographer - March 2017 - 57
American Cinematographer - March 2017 - 58
American Cinematographer - March 2017 - 59
American Cinematographer - March 2017 - 60
American Cinematographer - March 2017 - 61
American Cinematographer - March 2017 - 62
American Cinematographer - March 2017 - 63
American Cinematographer - March 2017 - 64
American Cinematographer - March 2017 - 65
American Cinematographer - March 2017 - 66
American Cinematographer - March 2017 - 67
American Cinematographer - March 2017 - 68
American Cinematographer - March 2017 - 69
American Cinematographer - March 2017 - 70
American Cinematographer - March 2017 - 71
American Cinematographer - March 2017 - 72
American Cinematographer - March 2017 - 73
American Cinematographer - March 2017 - 74
American Cinematographer - March 2017 - 75
American Cinematographer - March 2017 - 76
American Cinematographer - March 2017 - 77
American Cinematographer - March 2017 - 78
American Cinematographer - March 2017 - 79
American Cinematographer - March 2017 - 80
American Cinematographer - March 2017 - 81
American Cinematographer - March 2017 - 82
American Cinematographer - March 2017 - 83
American Cinematographer - March 2017 - 84
American Cinematographer - March 2017 - 85
American Cinematographer - March 2017 - 86
American Cinematographer - March 2017 - 87
American Cinematographer - March 2017 - 88
American Cinematographer - March 2017 - Cover3
American Cinematographer - March 2017 - Cover4
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