American Cinematographer - July 1992 - 67

able to leave the restored structure
to the city as a gift instead of tear¬

ing down the stadium after the
shoot. This was possible since the
restoration

performed, for the
to current building

was

most

part, up
codes. In a dedication ceremony,
the site was officially named the

Huntingburg League Stadium.
When putting together her
production team, Marshall likes to
hire the best people she can find
and give them significant authority
to do their job. "I tend to lean on my
cinematographer very heavily. I
don't know lighting, I don't know
f-stops, I don't know any of that
stuff. I rely on Miroslav for a look. I
expect him to handle that aspect. If
I don't like something, I say it. I'm
improvising with the actors, mak¬
ing up stuff, using my own in¬
stincts, trying to raise the level of

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their characters. I don't venture into

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much. I try to give as much free¬
dom as I can. Miric is someone
who's great with that."
A certain artistic freedom,

well

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& Innovision
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respect for his creative
just two of the benefits
which Ondricek enjoys when
working with Marshall. He gives
as

ideas,

as

are

her much of the credit for the final
results they have achieved to¬

gether, citing her unique ability
with actors and her willingness to
follow through on every detail
from beginning to end.
Deep into the editing pro¬
cess, Marshall was haunted by a
singular image which eluded
Miroslav to the end. "He wanted

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would say, 'Miric, we're in Indiana;
they don't have blue-eyed cows.'
He was very hung up on the blue¬
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they have them in Czechoslovakia
he had definitely seen them

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American Cinematographer - July 1992

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