American Cinematographer - July 1992 - 31

but decided that nothing could
match the real thing, despite the
additional difficulties of working
with milk. "The consistency of the

Control your
environment
and cosls...

liquid is paramount," he said. "You
cannot have it suddenly change in
the middle of a shot or from scene
to scene. But because the milk was

pumped, shot over a chute and cen¬
trifuged, bubbles and air traps ap¬
peared, and the heat from the stu¬
dio lights helped turn it into cream
and butter. The smell

was

awful."

According to James
Kadonoff, Griffiths' producer, 70
gallons of milk, 120 gallons of yo¬
gurt, and 85 "flats" (the flat boxes
seen in
grocery stores) of fruit were
used. (Because it had been handled,
much of the used food could not be
donated to public food kitchens,

something Griffiths and Kadonoff
always try to do with leftovers.)
The production problems
associated with milk also applied to
the yogurt. Yogurt, Griffiths found,
tends to be lumpy, so it had to be
strained before being stirred up in
large buckets. This gave the yogurt
an even consistency that enabled a
smoother flow when the product
was
tipped, poured and shaken.
In

New York Streets

*

■■■■-■ 1A IT ■f\ I
ill ill 1 4 1 11 II -i § H|ji| i
nsl
&
liiiln [Hip!1 Eii pi
d|
Hi i

i

[u]

r

SEES

oo

European Streets

addition, the best-look¬

ing pieces of fruit were individually
picked out from the boxloads in the
studio. The individual pieces were
then cleaned, manicured and even

Residential Streets

"polished" with a special preserv¬
ing agent by professional food styl¬
ists before they even went near a
rigOther rigs included one
which made waves of milk/yogurt

splash over the fruit, another with
made fruit literally jump as milk/
yogurt approached it, and another
which directed individual pieces of
fruit to drop in a certain way into a

pool of yogurt. Construction mate¬
rials included Perspex bins on
hinges, stretched silver mylar sur¬
faces which were "bumped" by
hand from below (causing the fruit
to jump) and cardboard tubes.
Lighting milk proved to be
a
challenge. During pre-shoot test¬
ing, Griffiths tried a variety of dif¬
ferent colored gels for the lit back¬
ground in order to see which
would work best, but he returned

Universal rents

great locations!
(818) 777-3000
Location Information
©Universal City Studios, Inc.



American Cinematographer - July 1992

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

American Cinematographer - July 1992 - 1
American Cinematographer - July 1992 - 2
American Cinematographer - July 1992 - 3
American Cinematographer - July 1992 - 4
American Cinematographer - July 1992 - 5
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