American Cinematographer - May 1992 - 71

York texture back to L.A./' he says.
"There's an amazing amount of tex¬

because the space is so
confined; buildings are built on top
of each other, there are old buildings
ture there

and billboards
have thirty layers of different bills
that have been there for years and
years. Because of the way the struc¬
tures are built, the light is pretty
next to new buildings,

fantastic

as

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well. It bounces off vari¬

buildings and windows, and the
color temperature tends to be on the
cool side. A lot of the buildings also
have incandescent lights - old,
dingy tungsten lighting fixtures.
They give off a wonderful, warm
yellow glow, and yet the sunlight still
ous

tends to be

on

'
.

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the cool side. On the

show, I'm shooting Agfa film and

using half-blue on most of my lights.
a higher color tempera¬
ture for sunlight, which helps us

We work at

create that cooler

of the

look and makes all

practicals really warm."

William Wages
I'll Fly Away (pilot)

William Wages is becoming
familiar face at the ASC Awards;
this year's nomination is his fourth.
Previous nominations were for Gore
Vidal's Lincoln, Voices Within: The
a

Story of Trudy Chase, and Caroline?.
Fly Away pilot, Wages
has kept busy with several movies
for television, including Crash Land¬
ing and Night Man.
Wages recollections of the
nominated picture begin with the
story. "The thing I liked most about
I'll Fly Away is that it was a very ac¬
curate depiction of what is was like
in the South during the civil rights
movement," he says. "I grew up
here, and the television images we
see are a
gross distortion of the way
things really were. Certainly there
were and are problems, but racism
and prejudice are certainly not solely
Since the I'll

found in the South, which is the im¬

ALLEN DAVIAU,

ASC

"Bugsy"
ASC Winner for
a

Outstanding Cinematography of

Theatrical Feature

ISIDORE MANKOFSKY, ASC

"Love, Lies and Murder"
ASC Winner for
an

Outstanding Cinematography in
Episode of a Mini-Series

DONALD M. MORGAN, ASC

"Dillinger"
ASC Winner for
a

Outstanding Cinematography of

Television Movie of the Week

or a

Pilot

pression people sometimes get.
"All

quences

that

the

were

flashback

se¬

used during the

courtroom scenes were done in black

&

white," recalls Wages. "They were

all done poor

were

on black &
then drained

shooting

white. The color
out in the

"The Trials of Rosie O'Neill, This Can't Be Love"
ASC Winner for
an

Outstanding Cinematography of
Episode of a Regular Series

man's process, in a

warehouse, except for one drive-by.
That was a big challenge. We shot on
color stock, and I approached it as

though I

JACK PRIESTLEY, ASC

was

PHILIP

LATHROP, ASC

ASC Lifetime Achievement Award

Thank You For

Choosing Tiffen Filters

TnFFEN

post process."
Tiffen Technical Center

Tiffen

3500 W. Olive

Manufacturing Corporation

Ave., Suite 810, Burbank, CA 91505

90 Oser Ave., Hauppauge, NY 11788

*

*

1-800-593-3331

1-800-645-2522
American Cinematographer - May 1992

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