American Cinematographer - August 1990 - 65

Feith met researchers and scien¬
tists at Manomet Observatory
who told them about the influx
of herons in the New York har¬
bor. The filmmakers learned that
Black Crowned herons, night

Opposite: Herons
come

home to

New York Harbor.
Above:

Judy Feith

waits for "the
moment" in
blind

on

a

the

harbor. Center: In
the background

herons, and yellow herons, who
hunt fish and small animals

by
night were among the returnees.
Snow egrets and great egrets
(their faces turn green in the
courtship ritual), two and four
feet tall respectively, joined them
along with glossy ibis and little

the architecture of
civilization.
Below: Cinema¬

tographer
Michael Male
waits for his cue.

blue herons. Feith couldn't resist

adding radio mikes to the nests
of the night herons to capture
their screams. "They wail like
someone is dying and they bark
like dogs!" she said.
Male and Feith took to
the homecoming story at once.
"We became interested in mak¬

ing

Heron film for many rea¬
Feith explains. "It hadn't

a

sons,

been done before, and read about
in a million magazines." In be¬
tween the time Feith and Male

proposed and shot "Herons," the
team was chosen by National
Geographic to shoot "Puffin
Watch," about Atlantic puffins,
and "Race Against Time," about
a Smithsonian
expedition look¬
ing for new species in the Boliv¬
ian jungle. When shooting finally
commenced, Male and Feith had
that much more
der their belts.

experience

un¬

Early on Male and Feith
visual potential in the New
York harbor. "You can see the
herons in the marshes along
route 95 in New Jersey," Feith ex¬
saw

plains, "along with industrial
planet; it
smells bad, there are ugly facto¬

waste. It's like another

ries, oil tanks and smokestacks.
It's

an

interesting contrast. Here

the most urbanized and
abused part of the country, live
in

some of the most beautiful
birds." Male agrees, "You
couldn't build a science fiction
set that would look stranger than

what

actually exists out there."

Feith describes the part
of Victory Boulevard on Staten
Island where she and Male
launched their Zodiac as "strewn

with old tires and abandoned

body." That "set" became the

night." She and Male even spent
10 days at the New York dump -
the largest in the world!
Shooting in the wilds is

team's

not

refrigerators,

a place you'd ex¬
pect to see someone throwing a
summer home; "It was
strange sleeping on the island. It
never
gets dark and garbage

barges

come

August 1990

into the landfill all

new

to Male and

Feith, but

on an urban island,
amid the threat of toxic waste,
was different. "When
they de-

shooting

American

Cinematographer

63



American Cinematographer - August 1990

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