American Cinematographer - May 1990 - 47

Photos

by Luke Wynne

says,

"our ideas blend nicely."
Though, by his own
admission, his imagery tends

a

sound stage. "We built a huge
house for the parents (Carrie
Lowell and Dwyer Brown) in

angles and to be able to shoot
through the glass and not see
yourself in the reflections. These

toward the romantic, Alonzo's
visual diversity is evident in such
films as Harold and Maude (1971),
Sounder (1972), Chinatown (1974),
Norma Rae (1978), Crosscreek

there," Alonzo says, "with two

windows were 6' xl2' (with) 6' x
6' skylights above them. One
whole wall of the living room

(1982), Scarface (1983), Steel
Magnolias and Internal Affairs
(1989).
Alonzo suggests that
"the unwritten law in this picture
is that the forest have a presence.
The trees must have presence.
That's the pivotal thing in the

story, something there in the
beginning that seems to encroach
upon the parents, their house and
their lives, until later, as things
develop, we finally begin to ex¬

floors and huge windows every¬
where that looked out into the
forest. It was extremely difficult
to work in there because the set

occupied

so much of the space
and the ceiling was so low.
Where the house stopped, the
forest started immediately, after
about three or four feet of lawn.
Then the forest went back only
about 25 feet because that's
where the wall of the stage

began.That wasn't really far
enough because you couldn't get
a perspective on the forest."
Scenes were to be shot
both indoors and outdoors. "So it

sions of the warehouse before the
set

was

cided

constructed, Alonzo de¬

fixed configuration of
overhead units. "Before they
on a

brought the forest in," he says, "I
made an educated guess as to
where to best put the lights, since
we wouldn't be able to move
them later on, because of the for¬

lenging scenes involving the for¬
est were those photographed at a

heights.
"I figured about where
the forest was going to be put,

Valencia warehouse converted to

be

and the maximum distance I

Some of the most chal¬

was

really

nothing but windows look¬
ing out into the forest, about a 3540 foot width of glass. We wanted
the forest lit strangely, a bit offcenter. Even in the daytime it was
to have a strange sort of look."
Assessing the dimen¬
was

me," Alonzo
light to make
it appear that there was a lot more
space out there. It was difficult to

plore the forest itself."

up to

continues, "to

sure

May 1990

use

that it worked from all

Jenny Seagrove by
candlelight.

est

American

Cinematographer

45



American Cinematographer - May 1990

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