American Cinematographer - October 1989 - 62

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"Jeff wanted to reflect
the idea that

although there were
some
strange things going on in
the government, there was still a
sense of basic
goodness there.
Instead of drawing blinds and
darkening rooms, we let the light
in. Sometimes I would

use

hard

light-huge, un-fresnelled

day. There's really no best-it's
the body of work for the five guys
that were nominated, and they're
all winners. I'm happy to be in
their

company."

Lonesome Dove
Part 4

-

The Return

units-outside the Oval Office.
We let the hard light filter down

Doug Milsome

through the windblown trees,
which gave us an extraordinary
pattern inside the room. The trees
filter the sunlight, and the
dappled light rolls through the
room.
Shooting in the warehouse
gave us a lot of room to lay back
and get nice hard patterns," re¬
calls May.
"I overexposed the hard
light coming into the room by
several stops. Natural elements in

was

At press time, Milsome
unavailable for comment.

the room reflected much of the fill

light. When we got up against the

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windows, we tried to leave them
unbalanced. We didn't want the
windows to actually blow out,
but we wanted to see trees and

things out the window, to give a
of place. It was kind of
tough to get those stops, because
if you put that kind of light
through a window, it's going to
be hot. We were able to bring
light in to augment, to keep the
windows just where I wanted
them-before the verge of actu¬
ally blowing.
"It was a 75 day shooting
sense

schedule, which sounds like a
long time, but not when you're

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shooting six hours worth of film.
It's important-and difficult-to
maintain consistency over such a
long period. A miniseries is a tre¬
mendous undertaking, and I'm
very proud that our work was
recognized."
May currently spends
most of his time directing. His
credits include several
movies of the week and episodes
recent

of The

Equalizer, Wiseguy, Tour of
Duty, and Midnight Caller. As to
his cinematography, May says,
"I've been doing this since I was
18, and I turned 38 on August
3rd, the day that I was nomi¬
nated. It

was a

85748

Cinematographer

October 1989

very

happy birth¬

Shooter

Gayne Rescher, ASC
The pilot for Shooter is the story of
a 1960's
award-winning photog¬

rapher who risks life and limb to
document the Viet Nam War. It
shot on a 24 day schedule in

was

Bangkok, not far from the loca¬
tions used in Bridge on the River
Kwai.

Shooter marks Rescher's

seventh

Emmy nomination.
"The most extraordinary
thing was the multinational

crew," recalls Rescher. "There
were seven

ken

on

languages being spo¬

the set-there

was a

lot of

charade-playing. But it worked
out well. I was able to bring my
gaffer, and the Hong Kong crews
were
accomplished picture tech¬
nicians."

Rescher himself

was

a

fighter pilot in the European thea¬
ter during World War II. His
work has been nominated twice
for the ASC Award, and the 1980
miniseries Movieola

garnered an
numerous credits
include Star Trek II: The Wrath of

Emmy. His

Kahn, The Day After, Rachel,
Rachel, the Cinerama feature
Seven Wonders of the World, and
the Cinemiracle picture Windjam¬
mer.
American Cinematographer - October 1989

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