American Cinematographer - July 1992 - 73

SPLASHUGHT.
but

places in the mix where dia¬
logue was hard to understand were
simply left in. "The beauty of
Shakespeare is the incredible lan¬
guage/' Saks points out. "But if
you're not a Shakespeare scholar,
you'd be lost anyway." There was
some
thought of putting in sub¬
titles, but that

was

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pervising sound editor John
Fogelson. "John really helped me
put this whole team together," Saks

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picture: he spent seven-day
weeks just getting the footsteps
right." Most footsteps are done in
post now, but the massive volume
of footsteps in Othello was "amaz¬
ing," says Saks.
Fogelson cut on a Kem
flatbed. "You could really do it on
an
Audiophile, but John's from the
old school, and he gets better sync
and rhythm from cutting on film,"
Saks notes. Afterwards, he would
transfer to the digital domain so
that the whole mix was in the digi¬
tal realm. The new track had to be
"dirtied" to match the dialogue, so
it would all sound as if it came from
the same source. "Our hope is that
no one even thinks about the sound

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judges anymore. We were always
asking, 'What would Orson have
done in this situation?' That's why
it was important that we worked
with Beatrice. Because it really
wasn't our movie. It belonged to

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Orson Welles."
In the wake of the success¬
ful restoration of her father's film,
Welles-Smith voiced her hope that
more archival classics will be
cleaned up. "The Italians are restor¬

format, exposure,
timecode, diopter

ing the Sistine Chapel," she noted.

and

"The least

PREDICTIONS.

we can

do is restore

our

heritage." If she had her
choice, Chimes of Midnight would be
her next restoration project. "It was
my father's favorite movie," she
reports. "It was also the last movie
he was able to complete. And it was
a
happy period in his life."
A
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71
American Cinematographer - July 1992

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