American Cinematographer - March 1989 - 32

Top: Camera fol¬

explore, reliability in the film stocks
quite a crucial aspect. I don't
mean that Kodak is
perfect. The
chemical shortcoming is always
there, and might occur any time.
Still, in risky situations, when I
have very low lights, I feel that
speed wise Kodak allows me to take
the risk. It may be just a psycho¬
logical factor, but it is important for
me. As for the other
types of film
stocks the technical team is using
for the blue screen, the English
technicians in charge of optical
composition have asked me for the

lows the Baron
astride

is

a cannon

ball. Center: Be¬

draggled

group and
the weary horse
rest on the shore
as

they plot their

revenge. Below:
Seville and Idle in
a scene on

the

moonscape.

47,

a

stock that, in terms of the

quality of light, takes me back in
time. Kodak's sensitivity now is
around 400 ASA. Well, let's say 320
ASA to be

Below and above

sure.

this limit there

excellent
bilities of utilization.''
Much

are

as

possi¬

he found The Ad¬

ventures

of Baron Munchausen an en¬
grossing movie, Rotunno does not
give the impression of having been
at all concerned by the colossal di¬
mensions of the picture: "I have
always worked in film productions
that, while they were not so big, did
however

mean an enormous com¬

mitment in terms of

areas

occupied

and environments to be recon¬
structed. In these studios, for exam¬

ple, I filmed Fellini's Satyricon,
required the construction of
a Fellini-dimensioned Rome.
Really
a vast
city."
which

As well as from his pro¬
fessional experience, the result of
his brilliant 45 years on the set,
Rotunno derived much confidence
in the production of this film from

having worked in Cinecitta. Here
his love affair with the cinema
started when he

was

old, and worked

only 15 years
photo lab

as a

technician. Since then, Cinecitta
has

always marked the most impor¬
stages of his activity as a cine¬
matographer. It is Rotunno's
eagerness for artistic research that
convinced him to experiment the
first complete movie in High Defi¬
nition TV not long ago. And we can
suppose that such a 'Baron-like' at¬
titude towards cinematography was
strongly appealed to by the chance
tant

to

explore Munchausen's magical
so that, in
spite of

world. So much

his initial hesitation, Rotunno final¬

ly had to surrender to it.
30

American

Cinematographer

March 1989

A



American Cinematographer - March 1989

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