American Cinematographer - May 1992 - 74

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Daryn Okada

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In A Child's Name

Tel [818] 767.6528

Daryn Okada had child¬

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hood ambitions toward a career in
still photography, but adjusted his

sights at the ripe age of 10 after seeing
a

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moviemaking. "I went through my
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hoping to incorporate that kind of
discipline into motion pictures," he
says.

information.

Okada broke into the busi¬

by working on a series of lowbudget films. Eventually, he was
hired to shoot episodes of the ABC
ness

series

Elvis, which led to the features

Wild Hearts Can't Be Broken and the

yet to be released Boris and Natasha.
In A Child's Name tells the

story of a New Jersey dentist
who murders his wife, setting off a
true

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custody battle for the couple's child
that pits the wife's sister against the
husband's family in Indiana. "The
story has elements of a culture clash
between the sister's Italian family on
the East Coast and the dentist's

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contrast between the two families."

The cinematographer feels
that the story's standout sequence
occurs while the
police are attempt¬

ing to find evidence to convict the
dentist, who has already been jailed
and is awaiting trial, for the slaying
of his wife. "As a last resort, they
decide to coat the bedroom with

This Publication is Available in

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a

substance called Luminol, which
makes any traces of washed-away
blood glow in the dark. When the
dentist's visiting parents turn out the

lights, the entire room starts glowing
around them.
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"We found some invisible
ultraviolet chemicals, got them

mixed, and used a special kind of UV
lighting to bring them out. It wound
up being a pretty effective sequence."
American Cinematographer - May 1992

Table of Contents for the Digital Edition of American Cinematographer - May 1992
