American Cinematographer - March 1989 - 64

1969 in France. We looked every¬
an iris and

where in New York for
we

couldn't find

So I said, let's

one.

call the rental house in Paris where
we

had

gotten the one I used be¬
They still had it! That iris,

fore.

which

was

used, is

like the

ones

Griffith

antique. But they
shipped it over to us and we used it

a

an

lot in the movie. It

same

the very

work with the iris
could recall

some

we

on

did all

the

of the

our

camera we

language of
days.

and hold for

a

beat be-

my own.
is

very attractive and very
So I tried to glamorize her emphasize how attractive she is.
"There

Larry Huston Studio,
62

40 E. 21 St., N.Y., N.Y. 10010
212-777-7541
Patent 284,333
.

ex¬

The Tunnel, where

scene

looked like

were

very

mark."
sics

as

The Red Shoes,

schaft,
that

a

ing, incidentally, The Blue Angel.)
Almendros was happy to
be working with most of his usual
"the DeBlau brothers, Peter
Girolami, my gaffer, Tommy Prate,
crew

-

grip. I had Bruce McCallum as
focus puller - unfortunately, I
Danny Lerner, because he is
now a director of
photography. I
had to get a new operator. Tony
Gianelli
man,

and he

have

his

was

light

March 1989

more

harsh. I also used

was

fantastic. I think

a

of the few American directors

the

the

me

tin Scorsese. "I think Scorsese is

achieved

way.

recommended to

marriage here."
But most important, he
was elated to be
working with Mar¬
we

were

own

was

by Scorsese and by Michael Chap¬

mid-fifties to late sixties. This

afford to make

famous German company

films in the '20s and '30s, includ¬

who has

"With him, I could

Thief of Bagdad

produced expressionist art

all, he had to appear to be in his

Almendros assisted in the

re¬

for Universum Film Aktien Gesell-

one

transformation in his

U.F.A. film. We

(Powell directed such clas¬

different kind of character. First of

through a heavy diet, and
artistry of the hairstylist, cos¬
tumers and make-up people.

a

pleased with his

and Black Narcissus. U.F.A. stands

my
lost

was

used smoke,

places are smoky. It
was a
very black and white set, and
with the light on the smoke it re¬
minded me of the 20th Century Fox
searchlights. Michael Powell was
visiting the set, and he said the

my

style of the Picasso blue period. I
used tungsten film without the 85
filter correction to give everything a
bluish look. Then I used a very thin
black ladies' stocking in front of the
lens. It's hardly noticeable, but
when there is a highlight it does a
little something to it."
Nick Nolte was an entirely

we

because those

interest¬

are some

Oh, I almost forgot. There
in a nightclub, called

one scene

scenes that we did with
her. I did them keeping in mind the

requirements. Weighs less

blue. $250. post-paid.
Satisfaction guaranteed. For complete
information, call or write:

to have

different tech¬
niques as they dared. But
Almendros is quick to point out,

advantage of using the iris on the
camera is that you don't have to
go
through an optical process. It is first
generation and it looks sharp and
not grainy. You just have to be very
sure when you are going to
go and
how fast. To assist us we used a
video tap. Scorsese could watch us
and give us precise directions."
In a film that deals pri¬
marily with two people, there are
necessarily numerous close-ups.
Arquette and Nolte had to be han¬
dled in two completely different
ways in order to support the dra¬
matic material. "Rosanna Arquette
is a very versatile actress," says Almendros. "She can do many kinds

ing fantasy

than 5 lbs. Navy

seem

as many

fqre closing all the way. Another

to

carry-on

ploited

"We did not have smoke. I don't like

sexy.

with pad¬

forms himself into the character."
For a short film, Scorsese

it, and Scorsese is allergic to it. I like
it in other people's movies but not in

to look

ded adjustable/removable dividers.
Cordura nylon. All Velcro closures.
Foam padded throughout. Meets

a
great face. He
light very well. He looks
good with any light. And, of
course, he is a great actor. He trans¬

takes the

For instance, we could close down

of characters. In this movie she has

8"xl6"xl6" compartment

character. He has

the iris from the silent cinema
on a scene

The first filmmaker's bag
designed by a working filmmaker.
Provides ready access to accessories
in any working situation. Holds most
16/35mm 400' magazines plus Matte
Box, rods, French flag, Slate, etc.

for instance, because he didn't have
to look good. It gave his face more

and Almendros

too!

one,

"Because

Introducing

was

lenses that you don't normally use
for people. I could use wide angles,

a
signature today. If you
taken into the middle of one of

films, you would be able to tell it
his

immediately - just as you
always tell Fellini. He is a direc¬
tor who has a personality and I was

can

so

pleased that he asked me to do
waiting a long

his film. I have been

time to be asked."

A
American Cinematographer - March 1989

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