American Cinematographer - July 1990 - 74

After

a

successful

run

at

Hanoi, a

battle-damaged U.S. Intruder
fighter plane strafes through the
moonlit night, her pilots singing
"Downtown" to keep their flag¬

ging spirits up. As bombs ex¬
plode all around them, the virtu¬
ally defenseless plane bucks and
dives in

a

cape the
guns.

Vietcong's anti-aircraft

heroic attempt to es¬

Below what the

camera

will

perceive to be the strato¬
sphere through which the In¬
truder makes its flight, director
John Milius puffs on a huge cigar
while he and veteran

cinematog¬
rapher Fred Koenekamp, ASC
watch a video monitor to insure
that the marriage of live action
and rear process projection is
seamless. The film

they are mak¬
ing is Flight of the Intruder and
before them, on a 20 foot high
gimbal, sits the star: an impres¬
sive gray mockup of the Intruder
craft popular during the Vietnam
war, her canopy shattered by
shrapnel, hovering wingless in

front of an enormous 18'
blue screeen.
are

x

36' foot

Surrounding the plane
nearly a dozen scissor dollies

with

scaffolds, hunter lifts and

Condor

which carry

the
lighting and effects
equipment, including bomb ex¬
plosive rigs which make deafen¬
ing pops as they go off, and the
wind machines required to blow
cranes

various

the dust and smoke from the

charges

away from the process
A nod from Milius tells
the assistant director that it's time
to move on to another
setup, and
in seconds, the flesh and blood
screen.

Photos

by Phillip Caruso and Bruce McBroom

A-6 Star of

stars of the

set up

Flight of the Intruder
by Ron Magid
Produced

by Mace Neufeld
by John Milius
Fred Koenekamp, ASC,
Director of photography
Directed

72

American

Cinematographer

July 1990

film, Willem Dafoe

and Brad Johnson, descend from
the craft as Koenekamp begins to

another shot.

Milius takes a long drag
from his cigar as he watches

Koenekamp setting up the shot,
then exhales a sigh as he recounts
the trials he had to go through to
get Fred Koenekamp to shoot
Flight of the Intruder, due to that
age-old epitome of discrimina¬
tion:

ageism. "It was really a ter¬
thing to fight," Milius says
sadly. "Fred has forgotten more
rible



American Cinematographer - July 1990

Table of Contents for the Digital Edition of American Cinematographer - July 1990

American Cinematographer - July 1990 - 1
American Cinematographer - July 1990 - 2
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