American Cinematographer - October 1989 - 47

r

A

THE
POWER
POD

everything in between in black¬
ness -an

effect which caused the

production designer, who'd
spent weeks selecting proper
furniture for the asylum, consid¬
erable grief.
Conversely, when it
came time to shoot the 42nd
Street brothel scenes of Shake-

down, Lindley was determined to
disturb, rather than titillate, audi¬
He lit the decaying walls of
the brothel and left the people in
shadows.
Not surprisingly, Linences.

dley's work has been tagged

as
"color film noir." Shakedown and
True Believer were made back to

back; the earlier Serpent and the
Rainbow was an exercise in film
noir horror in which the hero at

point, is buried alive and the
goes completely black for
an
agonizing length of time. From
this handful of projects, True Be¬
one

screen

liever is the truest reflection of

Lindley's attempt to have the
photography match the story
dramatically.
was

"For me, True Believer
about a murder event slowly

coming out of the shadows, and
only one person wanted this
event to see the light of day. I
made the film really dark; it only
starts to

brighten

up during the
because that's
where the truth behind the mur¬
der is revealed. And the final
courtroom

scenes

where the story is finally
resolved, is the brightest."
scene,

now

Immediate Family and the
acclaimed Field of Dreams

opportunities for Lindley to
potential film noir
anything, Lindley's
personal taste in photography is
downright romantic.

were

shake off a
monicker. If

"I admire a lot of cinema¬

tography, but I'm truly inspired
by still photographers. My favor¬
ite for color is Joel Meyerowitz,
whose work has

a

sentimental

flavor; the black and white Henri

Lartigue binocular-lens studies
absolutely blow me away," says
Lindley. "During my off-time I go
outside with my still camera as
often as possible because it gives
me a
pioneer-like spirit. Mind
you, I'm sure if I worked exclu¬
sively in that medium I'd feel its
limitations." Besides, Lindley
asserts, it's a great time to be a
cinematographer. While direc¬
tors in foreign lands may never

Modular remote head; needs no spe¬

cial

operator! Adjustable fluid-drag
give you true gear-head feel.

wheels

be able to direct in North Amer¬
ica due to the language barrier, a
director of photography with just

enough communication skills can
work anywhere. (Ironically,
French cinematographer Phil¬
ippe Rousselot was busy with
Neil Jordan's We're No Angels, a
mere

ten minute drive from the

THE EQUIPMENT BROKER

Vancouver location of this inter¬
514 Live Oak Circle Drive

view)

Lindley

October 1989

was

Calabasas, Calif. 91302 * (818)
888-3293 * Fax: (818)713-1847

born and

V

J

45



American Cinematographer - October 1989

Table of Contents for the Digital Edition of American Cinematographer - October 1989

American Cinematographer - October 1989 - 1
American Cinematographer - October 1989 - 2
American Cinematographer - October 1989 - 3
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American Cinematographer - October 1989 - 100
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