American Cinematographer - January 1993 - 48

Right and below:
An adventurous

color scheme
was

employed
night

to lend the
scenes a

surreal

atmosphere.
Generally, the
deep back¬
ground was set
off with green,
while amber and
lavender

crossed in the
mid- and

foreground.
(Frame

reproductions.)

A lack of

in his

interiors, and a lot of green in
his exteriors. I swayed more to¬
wards the green, mainly because of
an earlier decision to print every¬

coverage
is
the downfall
of many well-

thing - dailies and our final print
on
Agfa stock, hoping to mini¬
mize magenta skin tones. In

intentioned,

Excalibur Thomson achieved

and the film¬
makers took a
bold step to
avoid this prob¬
lem. Shooting
with two cam¬

smaller

-

geted movies,

won¬

derfully brilliant colors and

we

wanted the same.
"I emphasized
once

the green
the hero is in the forest be¬

that's the point at which the
fairy tale begins. The green made
cause

me

ensure

pear more primeval and ominous,
almost like an evil character itself.
To set off the "reality" por¬
tion of the film from Goodman
Brown's nocturnal journey, di
Santo avoided brilliant colors and

much of

stayed with more traditional source
lighting. The crew ran into some
common practical location difficul¬
ties
it was cramped and hot in
the old buildings, and the ceilings

achieve this warmth I used coral
filters instead of 85s. The tone and

a problem," says the cin¬
ematographer. "We wanted the
day interiors to look like the paint¬
ings of the Dutch Masters. I always
made the overall feeling slightly
warm, and realistic," she says. "To

saturation of color is different. It

also helped me to even the contrast
between scenes shot under varying

the master," di Santo relates. "The
second camera would simulta¬

neously be getting close-ups with
longer lenses - 180, 300 and
400mm. Most of the close-ups were
shot with a 300mm lens, which was
sort of crazy because we were

weather conditions. We had sunny
days the first week and a half, and

working at night. Our stops

through the windows, in a natural
way, so the low ceilings weren't

then after that all
flat and rainy."

always wide open, and the sched¬
ule only allowed us two or three

American

January 1993

were

low.

"Everything

46

helped to
plenty of
angles for editing, while the addi¬
tional rental costs were partially off¬
set by the compressed schedule.
"I would usually set up
my camera for a wide shot to get
eras

think that the forest would ap¬

-

bud¬

Cinematographer

was

lit

our

days were just

were



American Cinematographer - January 1993

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