American Cinematographer - October 1989 - 54

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see

matographer, according to Kap¬
lan, it's not absolutely necessary.
"I don't think it's a requirement,"
he says. "I try to go by the qual¬
ity of the person's work. For ex¬
ample, if John and I had never
worked together, and I saw Field
of Dreams, I would have said, 'I
want to work with this guy'.
Similarly, I had never worked
with Ralf Bode [ASC] before The

Accused, but I had always been a
fan of his work, and that was a

great collaboration. I had the
situation with Tak Fujimoto
Heart Like a Wheel.

same

on

sell anything
we wouldn't

buy
ourselves.

flexibility.

"I

think

the

essential

thing on this particular script was
to have a director of photography
who would push the limits-who
would constantly question, and
not just be tired and say all
right,
'let's bang some light off this card
and go home'. I haven't, and
wouldn't, work with any cinema¬

tographers like that.
"I find that the best cine¬

Keeping it there is ours.
AMERICAN

dNEMEDITOR

A Publication of the

Honorary Professional Society - American Cinema Editors, Inc.

matographers are the ones who
are not
only interested in movies.
Ralf Bode's

a

former actor. John

Lindley is one of the most wellread people I know. We will in¬
variably end up talking about
something that we heard on NPR,
rather than 'did you hear that soand-so got fired from such-andsuch studio', and things like that.
And I think that's very important.
"The reason John was
hired on the first TV movie we
did together goes hand in hand
with that idea. This was a long
time ago, over ten years, and John
came in with a reel, and
frankly,
it wasn't

as
good as the other
candidates. But he was so right
on about the
script, he so clearly
understood what the script's

problems were, and what had to
pulled off in shooting it. I
thought it would be great to have
a director of
photography who
was
thinking about the script,
be

and would not be afraid to say
what the problems were. You get
so used to
hearing, 'Oh, this is

great, I want to work with you,
great great.' Instead, he was con¬

sidering potentially problematic
aspects of the script-some that I

52



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
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American Cinematographer - October 1989 - 100
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