American Cinematographer - March 1989 - 77
serves.
"Everybody was doing
whatever needed to be done, which
was kind of nice."
Speaking for the
department, Stuart explains,
art
"There
were
a
lot of last minute
had to come up with, and
we sometimes effected
repairs on
the costumes! Suddenly we had to
put props into someone's hands,
props we
and because the costumes
going through
were
lot of intense wear
and tear, we'd be there to help put
them back together."
Because of budgetary
a
constrictions, and also to create a
familiar, yet bizarre world of future
appliances, Eyth and his assistant,
John Logan, scoured the thrift
shops of Los Angeles in search of
unusual apparatus and unconven¬
tional hardware. "We'd put togeth¬
er
lists of
one
things that
room
at
a
were
needed,
time, in order of
shooting," Eyth recalls, "and
tablish what
off that
room.
things
we
were
was
Sometimes we'd find
hadn't thought of that
even more
appropriate, so
we'd add those to
about
es¬
needed to finish
our
list. We
spent
month
putting the set to¬
gether, but finding the thrift shop
stuff was an ongoing process, since
we were still
finishing sets during
shooting. I'd say we spent about a
month and a half looking for
things. I must know every thrift
shop in town now!"
While Eyth and Logan
combed thrift shops, Stuart con¬
centrated on industrial supply
places in Burbank and West Los
Angeles, looking through strange
jet components and other eclectic
equipment. "As Ed's sketches be¬
came
a
Photo courtesy
of Denver Metro V & CB
finalized, I broke them down
according to specific set pieces,"
Stuart says. "We didn't have
enough of a budget to manufacture
things, so we wanted to find as
many items as we
could. I would go
large plastics manufacturing
companies and look through their
surplus, and even their trash, and
purchase or borrow the materials
to
we
of quality lighting-Designers and manufacturers of specialized lighting
equipment for the motion picture, television and professional photographic industries.
937 North Sycamore Avenue, Hollywood, California 90038-2384, U.S.A.
TWX 910 321-4615; cable MORINC, Hollywood; FAX (213) 851-5593
telephone (213) 851-0111
61 years
needed."
To
Eyth's pleasant sur¬
prise, his wisely designed sets were
faithfully rendered in three dimen¬
sions by Stuart and his art depart¬
ment. "Usually when I work on a
film, I'll be lucky if 60-70% of my
Where do you go
for bright city lights?
:
Right to the top. To cities more than a mile high and lights
twice as bright. Capture the heartbeat of a big city...
without all the hassle.
It
helps to have friends
in
high places.
Film Commission, 1313 Sherman, Room 500C, Denver, CO 80203
303 866-2778 FAX 303 866-2251
75
American Cinematographer - March 1989
Table of Contents for the Digital Edition of American Cinematographer - March 1989
American Cinematographer - March 1989 - 1
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