American Cinematographer - November 1990 - 65

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care was taken to keep a
true-to-life feel in the scenes, but
the final battle, according to

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Zwick, needed to rise above the
others. "We wanted each of the
battles to have a separate look. If
the first one was somehow objec¬

tified, the skirmish

was

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much

subjective, and scary and
confused. But the final battle
needed to be somehow elevated.
The attempt was to make visual
that accomplishment of myth -
the myth that was accomplished
more

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by virtue of this battle. In history,
this battle took on a life beyond
itself, in memory and in impor¬
tance to the culture. Somehow,
without romanticizing it, keeping
it scary and violent, we had to

give it an elevated style."
That elevated style is
again the sum of many small, in¬
formed practical decisions. The
pyrotechnics, for example. Dur¬
ing nightly experiments, Zwick,
Francis and the crew judged pyro¬
technics for brightness, color,
length of contrail - in search of
just the right "rocket's red glare."
Parachute flares seemed too
modern. Finally a manufacturer
was hired to create the rockets to

specification. Lightning boxes
brought in to augment the

were

rockets, but

were

found to be too

specific - covering a only a small
area
to be of much help.
Zwick's eyes light up when he
-

describes the solution:
"Then we discovered my
favorite device - it's called the
gun. I had heard
about it from one of the effects

lackapodial

guys, and it looks like something
out of The Wizard ofOz. It's a crazy
device in which aluminum dust
under pressure is released into a

flame, and when aluminum is
combusted, it's phosphorescent.
You hit it and it

lights up the
and then
immediately cuts off - as if it

world about four stops,
were

the burst of

a

shell. These

guns were pooh-poohed at first,
but they turned out to be a prime

and scary source of atmosphere in
those scenes. They took us from
almost completely dark to white

hot in an instant. That sequence is

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61
American Cinematographer - November 1990

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