American Cinematographer - February 1990 - 12

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marian active in your column. Her com¬
edy is priceless. GIVE her the magazine!
-E.C. Range

a

movie, but 70mm
to run side

Angle and 25MM Eyepiece Heater

Mini

Spec HMI Lights

GAM Color Filters

and More.

SERVICE:
ARRI Camera Service

and Repair

Factory Trained Technician
On Duty.
Electronic Repairs on Video Assist
Equipment and

mediocrity is not enhanced by using
"small" 35mm format, but by poor story
material and obscene language.
Why don't we just make good
movies on 35mm with clear dialogue
tracks that are not masked by traffic
noise and music? Directors should have

speak up. (An example is Holly¬
wood classic, Casablanca.) There is bet¬
ter sound equipment available now, but
in many cases it is not used correctly.
I am glad I lived through the
actors

tail end of silent films and the beginning
of sound. This is a great business and am
was part of it.
-Charles Schmitz

Canal Winchester, Ohio
A Hoot!

going to stop going to a
doctor for my ailments. I found a new,
less expensive medicinal therapy in your
Letters column. With laughter the best of
all medicines, I was gratefully healed by
the subscription rejection in American
Cinematographer for December '89. As
we used to say long years ago, "Laugh-
I thought I'd die!"
My wife is a mechanical lay¬
am

artist, par excellence, who can see
typos around the block, and she no more
out

Somehow

February 1990

we

have to

figure

to keep this new-wave gram¬

out a way

Santa Clara, Calif.
Credits

Missing

In the article, "Punk City: In¬
dictment of the American Dream" in
November '89 American Cinematogra¬

pher, you left out credits except for the
author, L.B. Jeffries. The production stills
for the film were shot by myself, not by
the author of the text, as inferred at the
close of the article. Please stand
rected.

cor¬

-Steve J. Ullmann
New York City
What Goes On?
In the November 1989 issue of
American Cinematographer, you credit
L.B. Jeffries as the author of "Punk City:
Indictment of the American Dream."
Several references are made to Alfred
Hitchcock in the article. At the end of the

piece,

you

claim that "L.B. Jefferies is

a

free lance photojournalist who lives in
Greenwich Village."
Does this man actually exist?
In Hitchcock's classic Hear Window, L. B.

Jefferies, played by James Stewart, is a
free lance photojournalist who lives in
Greenwich Village! This coincidence
seems rather extreme to me. Is this a

joke?
-John Matthew

Perepchuk

Blairstown, NJ

Every author has a right to
own nom de plume. Your
perception is exceeded only by your
choose his

obvious interest in the story.
-Editor
American Cinematographerwelcomes letters. Send
them to: Letters, American Cinematographer,
P.O. Box 2230, Hollywood, CA 90078. Please
include your name

edited for

All Other Accessories.

10

see

too, dislike the idea of epic movies on the
box. Everytime I see Gone With The Wind
on TV I wince. Hollywood's penchant for

I

AC /DC Powerconverter

35mm, would have

the difference. As far as the black demon
of the Fifties (television) is concerned, I,

Dolly, Video Assist
and Lighting Equipment,
Including The World's Biggest Light
The Ray Beam.

Wide

or

by side for the public to

Panther

SALES:

laugh.

Mostofthepubliccannot,upon
movie, tell if the picture is on
35mm or 70mm, especially as seen in
theaters in the shopping malls. Most of
these theaters have projectors running
that are unattended, many times out of
focus, out of frame and with low light.
I don't mean that you should
not put the best into construction of a

glad I

RENTING:

started to read The Letter when she began
to

viewing

STEfiDicflm

Repartee

Re: John 0/Callaghan's letter,
Nov. 1989 American Cinematographer,
"70 Format, Why Not?"

and address. Letters

length and clarity.

may

be
American Cinematographer - February 1990

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