American Cinematographer - February 1993 - 55

Wild Palms: A Futuristic Forest of
Four feature directors collaborate with

Stone's

Intrigue

cinematographer to bring Oliver
quirky miniseries from practical locations to the small screen.
one

by Karen Erbach

A fter

an

impressive string of cin¬

ematic successes, Oliver Stone has
decided to try his hand at televi¬

independent project, The
Setting Sun, shot for the remarkable
sum of
just $125,000. Next, he shot

was an

short black & white film titled

tor Katt Shea Ruben and shot Dance

Spud. This film earned him his first
Roger Corman's film-

of the Damned, Stripped To Kill and
Streets. Most recently, Ruben and

sion, bringing to the small screen an

a

extraordinary miniseries, unbound
by conventional rules, that offers
the home viewer a finely crafted

feature at

alternative to traditional fare.
Wild Palms is based

making bootcamp, Concorde/
working for
Corman he hooked up with direc¬
New Horizons. While

on

Bruce

Wagner's comic strip of the
published monthly in
Details magazine. Jim Belushi plays
Harry Wyckoff, a man who feels
same

name,

disembodied from his life of lost
dreams and uncertain destiny.

Wyckoff's path changes when he's
offered a prestigious position
working for the Channel Three, a
TV network owned and operated
by the Wild Palms Group. Church
Windows, the fictional network's

premiere show, features virtual re¬
ality holograms with which view¬
ers can interact via a special mechanism. Unbeknownst to Harry,
however, the Wild Palms Group
has designs for virtual reality that
are

both sinister and all-encom¬

passing.

Cinematographer Phedon
Papamichael was recruited by pro¬
ducer Michael Rauch, who called
out of the blue and asked if he could
meet with producers A. Kitman Ho

(Stone's regular partner) and Bruce
Wagner. "They were looking for a
feature cinematographer who
could perform under the grueling
schedule of TV," says Papamichael.
"Because I had shot a number of

low-budget features, I was used to
working at a marathon pace.
Amazingly enough, I was recom¬
mended by the completion bond
company from Prayer of the Roller
Boys. I guess they were impressed

With the
camera

mounted on
a

members
take

a

dip

in order to
shoot a

of the work I did under
the constraints of a short, low-bud¬

with

remote

arm, crew

some

swimmingpool

get shooting schedule."

Papamichael's first feature

sequence.

February 1993

American

Cinematographer

53



American Cinematographer - February 1993

Table of Contents for the Digital Edition of American Cinematographer - February 1993

American Cinematographer - February 1993 - 1
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