American Cinematographer - November 1990 - 75

COLUMBIA COLLEGE-HOLLYWOOP
the interiors to look like. We de¬

signed huge lights that we put
everywhere outside and they are
inside
aware

well."
The designer is acutely
of the collaborative nature

as

THE
For 38 years

FILM

& VIDEO

SCHOOL

Columbia College-Hollywood has been teaching Video and Film

technique and technology. We use a practical, hands on approach to
education, utilizing a faculty of industry professionals in fully equipped
facilities. Columbia

College is a private, non profit,
institution. Call or write us for more information.

degree granting

of

filmmaking and the interde¬
pendence of each craft upon the
others. According to Zanetti, "It's
very difficult to know how con¬
vincing the reality of the movie is
going to be, because it's related to
many other elements. When we

^

Financial Aid

A

Available

925 N. La Brea Ave.

Hollywood, CA 90038
(213) 851-0550

IMnH
National Association
of Trade and
l 'Technical

build a set like this and add the
sound of marble, it will look com¬

pletely different than if someone
just walks on stage and there is no
sound. Sound is very important.
We built

enormous

doors, and if

they make the right sound when
they close, then you really know
what they are.
"In the theater and the

opera I learned the value of the
right aging of things," the artist
said, indicating the convincingly
ancient look of statuary and walls
that in reality still exuded an
aroma of
recently cast polyester
resin. "If you look carefully, the
sculptures are not masterpieces -
they are very good, but they are
far from Michelangelo, and we
had to compensate for the fact
that we are not Michelangelos.
Now you can take a Michelangelo
statue and computerize it and
reproduce three-dimensionally
exactly the same thing, but it costs
amount of money
didn't have the money. So

an enormous

and

we

the

sculptures were done the oldfashioned way. The aging is very
important, because it contributes
to the reality.
"It is necessary that the
walls have

a

texture and aren't

looking, because this is the
oldest story ever told, the story of
man's struggle to know," he
added. "It can't happen in front of
a sterile
contemporary wall; you
have to feel the past. So I found an
Italian painter who had the same
feeling. I think it's in the blood.
new

a set of one of the
apartments
the walls were painted in one

On

color, then we'd put on plaster
and paint another color, and
knock that down and put on an-

rfcU0lCM\

i £ 'PflMte

Prtt3hC

pbe,,:

,J^iurghpA
(412) 747-OSOO



American Cinematographer - November 1990

Table of Contents for the Digital Edition of American Cinematographer - November 1990

American Cinematographer - November 1990 - 1
American Cinematographer - November 1990 - 2
American Cinematographer - November 1990 - 3
American Cinematographer - November 1990 - 4
American Cinematographer - November 1990 - 5
American Cinematographer - November 1990 - 6
American Cinematographer - November 1990 - 7
American Cinematographer - November 1990 - 8
American Cinematographer - November 1990 - 9
American Cinematographer - November 1990 - 10
American Cinematographer - November 1990 - 11
American Cinematographer - November 1990 - 12
American Cinematographer - November 1990 - 13
American Cinematographer - November 1990 - 14
American Cinematographer - November 1990 - 15
American Cinematographer - November 1990 - 16
American Cinematographer - November 1990 - 17
American Cinematographer - November 1990 - 18
American Cinematographer - November 1990 - 19
American Cinematographer - November 1990 - 20
American Cinematographer - November 1990 - 21
American Cinematographer - November 1990 - 22
American Cinematographer - November 1990 - 23
American Cinematographer - November 1990 - 24
American Cinematographer - November 1990 - 25
American Cinematographer - November 1990 - 26
American Cinematographer - November 1990 - 27
American Cinematographer - November 1990 - 28
American Cinematographer - November 1990 - 29
American Cinematographer - November 1990 - 30
American Cinematographer - November 1990 - 31
American Cinematographer - November 1990 - 32
American Cinematographer - November 1990 - 33
American Cinematographer - November 1990 - 34
American Cinematographer - November 1990 - 35
American Cinematographer - November 1990 - 36
American Cinematographer - November 1990 - 37
American Cinematographer - November 1990 - 38
American Cinematographer - November 1990 - 39
American Cinematographer - November 1990 - 40
American Cinematographer - November 1990 - 41
American Cinematographer - November 1990 - 42
American Cinematographer - November 1990 - 43
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American Cinematographer - November 1990 - 45
American Cinematographer - November 1990 - 46
American Cinematographer - November 1990 - 47
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American Cinematographer - November 1990 - 49
American Cinematographer - November 1990 - 50
American Cinematographer - November 1990 - 51
American Cinematographer - November 1990 - 52
American Cinematographer - November 1990 - 53
American Cinematographer - November 1990 - 54
American Cinematographer - November 1990 - 55
American Cinematographer - November 1990 - 56
American Cinematographer - November 1990 - 57
American Cinematographer - November 1990 - 58
American Cinematographer - November 1990 - 59
American Cinematographer - November 1990 - 60
American Cinematographer - November 1990 - 61
American Cinematographer - November 1990 - 62
American Cinematographer - November 1990 - 63
American Cinematographer - November 1990 - 64
American Cinematographer - November 1990 - 65
American Cinematographer - November 1990 - 66
American Cinematographer - November 1990 - 67
American Cinematographer - November 1990 - 68
American Cinematographer - November 1990 - 69
American Cinematographer - November 1990 - 70
American Cinematographer - November 1990 - 71
American Cinematographer - November 1990 - 72
American Cinematographer - November 1990 - 73
American Cinematographer - November 1990 - 74
American Cinematographer - November 1990 - 75
American Cinematographer - November 1990 - 76
American Cinematographer - November 1990 - 77
American Cinematographer - November 1990 - 78
American Cinematographer - November 1990 - 79
American Cinematographer - November 1990 - 80
American Cinematographer - November 1990 - 81
American Cinematographer - November 1990 - 82
American Cinematographer - November 1990 - 83
American Cinematographer - November 1990 - 84
American Cinematographer - November 1990 - 85
American Cinematographer - November 1990 - 86
American Cinematographer - November 1990 - 87
American Cinematographer - November 1990 - 88
American Cinematographer - November 1990 - 89
American Cinematographer - November 1990 - 90
American Cinematographer - November 1990 - 91
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