American Cinematographer - October 1989 - 76

Photos

by Peter Iovino

Traveling Matte Techniques for Shocker

by J.C. Kimbrough
Wes Craven created Freddie, a fella who

gives the word manicure a whole new
meaning and one of the most popular funny¬
men in contemporary horror films. Jacques
Haitkin, a veteran of the horror genre, is the
director of photography who gave the origi¬
nal Nightmare on Elm Street and one of its
sequels an ability to blur fantasy and reality.
Bruno George is the optical whiz whose
innovative video techniques breathed life
into a computer-generated wiseacre, TV's
short-lived but

critically-acclaimed Max

Headroom. Now in Shocker, Craven's latest

74

American

Cinematographer

offering, the three of them have used even
more sophisticated versions of Georges
techniques to get big-budget special effects
on a small-budget film. In the process,
they've made possible what could be called

entity with the ability to transform
and finally into some
peoples ultimate nightmare, television.

an

himself into energy
"There's

a

tremendous chase

that takes

Fortunately, bad guy Pinker is
caught and executed in the electric chair in
the first third of the movie. Unfortunately,

place with the character inside
the bodies of other people, including a seven
year old girl," Craven says. "Then he passes
on into electricity and then into electro¬
magnetic pulsations and finally we end up in
a chase into and through television. The
whole picture has a theme of television and

the electrocution doesn't take too well. It

this

the Anti-Max.
"His name is Horace Pinker and
he is a killer," says Craven.

not

only doesn't kill Pinker, it turns him into

October 1989

is a television repairman so in a
the television world that Americans

man

sense



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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