American Cinematographer - August 1990 - 73

Conservation Problems Recorded Worldwide
by Gary Lopez
"How many passengers

in

Whiteface

your

Mountain Cloud

party?"

Research Station

"Two."
"And how many

of

in the Adirondacks.

pieces

luggage?"
"Eighteen."

The ticket agent stopped
writing and looked up with a
smile that could not mask her
astonishment.

"Well, you boys should
have an outfit for every occa¬
sion."

Airports might be the
toughest locations for documen¬
tary film makers, especially a
two-man

crew.

There's

no

way to

avoid

being conspicuous when
you trudge into a terminal drag¬
ging what appears to be the con¬
tents of

a

two-bedroom house.

Dividing the gear between eight
or ten
people would certainly
make airport check-in easier, but
a

two-man

crew

way to film

is often the best

the projects that come

my way.

Encyclopaedia Britannica Educational Corporation
had hired me to make three short

films for a series entitled, "Prob¬
lems Of Conservation," intended
for international distribution and
to be translated into several lan¬
guages. Because of this, it was
decided that there would be no
sync sound to complicate things.
It was also felt that the films
should have a global perspective.
After all, many of the pollution
issues that would be addressed,

including the greenhouse effect
and the destruction of the strato¬

spheric ozone, are worldwide
problems with worldwide conse¬
quences. Since there would not be
an absolute
necessity for location
sound, and since filming would
require a great deal of globe trot¬
ting, this was a good job for a
two-man production crew. One
crew

member

rector of

was

LA-based di¬

photography Peter

Bonilla, along with me as pro¬
ducer/director/focus puller/

dolly grip/driver/baggage han¬
dler.
Problems

facing smalldocumentry teams were
part of my training from pro¬
ducer/cinematographer Bert
Van Bork (American Cinematog¬
rapher, June 1971 and August
1972). My job then was to write
the shooting and final scripts, set
crew

August 1990

up the locations, and act as Van
Bork's production assistant when
we were on the road. This
expe¬
rience allowed me to develop

story-structure skills that are
founded in adapability. Some¬
times a location doesn't work

(because of weather, illness,
not
a

or

finding what we wanted),

location offered

expected. I spent
the back seat of

American

more

than

or

we

hours in
rewriting

many
a car

Cinematographer

71



American Cinematographer - August 1990

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