American Cinematographer - November 1990 - 67

Francis

the

uses

Lightflex,

and his in¬

stincts, to

con¬

trol contrast.

Photo

by Merrick Morton

Moving Portrait of War
by Bob Fisher
"It's

a

wonderful collec¬

tion of

faces," says Freddie
Francis, BSC. "That's what I'm

proud of about Glory. It's
photo album. I felt that
every frame had to stand on its
own as
though it were a portrait."
most

like

a

Francis earned his second

shoot The Elephant Man. In his
second go-around as a director of

you

photography, Francis has photo¬
graphed such diverse films as The

have to deal with them
scene has the
ring of truth
audience."
That's
where

French Lieutenant's Woman and
Dune.
"I don't think of shooting
film as a very technical thing,"

have to create that effect.
Then, there are shadows, and you
so

the

for the
the

Lightflex comes in. Francis has
used this device on his camera

says Francis. "Either you have an
affinity for it, or you don't. I'm

since he shot The French Lieuten¬
ant's Woman. The Lightflex is

convinced that film and I under¬
stand each other. It's instinct. You
don't reason out why you want a

basically

range of contrast
records.

period
when Francis stopped shooting in
favor of directing. He had around

light there. It's second nature.
"Everyone lights differ¬
ently. A lot of the time, it's obvi¬
ous. You have two people sitting
by a window. If it is daytime, your
keylight will come from the win¬

30 directorial

dow. How about fill

ror

there's

Oscar nomination for

Glory, his

first since 1960, when he won for
Sons and Lovers. His body of work
divides into two periods. His

early films include The Macomber
Affair, Time Without Pity, Room at
the Top, and one of his personal
favorites, The Innocents.
Then there

was a

credits, mainly hor¬
films, before David Lynch got

him back behind the

camera

to

the

camera,

it is

a

small light

on

the

used to flash film before

exposed. This reduces the
that the film
"It opens up

the shadow

areas," Francis explains. "It's like

putting fill light inside your lens.
can control the intensity,

You

light? Maybe

which determines how much you

candlelight flickering on
side of one person's face. So,

reduce contrast. How do you
know how much is enough? I

November 1990

American

Cinematographer

63



American Cinematographer - November 1990

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