American Cinematographer - July 1990 - 81

Koenekamp shot these
tests

as

well

as

tests for the black

and white RP

footage with aer¬
ial cinematographer, David
Nowell. "We went to Seattle, and

U.S. Virgin Islands
Film Office

{Calif.} shooting
plates," Koenekamp says, "They
to Redlands

flew

us

to Hawaii twice to

sets without the

look at

director, since

he'd

already been there. When I
back, they took me out to
the carrier for a couple of days
and I went out to sea for one night
so that was kind of neat. They
kept me so damn busy, I didn't
know if I was coming or going. It
was such a tough script, it was
very hard to figure out how eve¬
rything was going to work. I
spent a lot of time with the assis¬
tant director going over the sto¬
ryboards and trying to figure out
came

how certain shots would work
and how much time we'd need to
do it.
"This is the most compli¬

cated

picture I've ever done,"
Koenekamp admits. "We kidded
about this picture when we
started:

we

said, 'Well, if

we

get

Dreams of Gold

WtfWfr ;
Charlie's

American

Angels

Voyage of Captain Cooke

Sportsman

TEL: (809) 775-1444

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Contact: Win

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We're No Virgins to Filmmaking.

fCr

St.Thomas * St.John* St.Croix

through the location shoot in
Hawaii, boy we're in business',
then we said 'if we get through
the stuff shot on the aircraft car¬
rier. ..', now I'm saying, 'If I can

only get through this process
business'..! Actually, for me, this
is the hardest work of everything
we've done. The other stuff I
could handle because I've done it

Summer & Fall Workshops
The Film

Industry's Largest and Most Respected Workshop Program
more than 100
professional one-week workshops

with

June

*

before, but every process

shot in
this movie is tough to line up.
Even Patton wasn't as complex as
this picture, though it's very
similar in terms of the style of the
look we're using."
While most would agree

Patton would be

a great climax to
cinematographer's career, it
was actually the beginning of
Koenekamp's feature film work,
and began a twenty year associa¬

any

tion with its

November

*

Script Development Workshops * Director of Photography Workshop
Camera Assistant Workshop * Production Manager Workshop
Script Writing Workshops * Documentary Film Production
Film Lighting Workshop * Video Technology Workshops
Film Camera Workshop * Special Effects Workshop
Feature Film Directing * Steadicam Workshop
The TV News Camera * Film Technology
*

Plus

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Three-month Masters

Three-month

Program in Documentary Film
Masters Program in Dramatic Film

director, the late

Franklin Schaffner. "Patton was
shot for real," Koenekamp remi¬

nisces, "if it rained we shot it, if it
snowed, we shot it. There were

interesting shots where the
clouds would pass overhead and
actually see their shad¬
ows moving over the faces of the

you can

to

The

Film

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&

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American Cinematographer - July 1990

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