American Cinematographer - February 1995 - 52

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EDITING
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cludes many years as an camera
assistant. How important is ap¬

prenticeship?
Willis: One thing about
experience: it's very hard to tell
other people what to do, and get
the most out of them, if you don't
know what they do. If you don't
understand the relationship be¬
tween what you're doing and what
the people around you are doing,
you can be behind the 8-ball.
I do believe in apprentice¬
ship. I was an AC for a long time,
and when I started shooting, I was
doing it on the East Coast, which
meant that I could operate and
shoot at the
me an

same

time, which gave

advantage in that I could

little faster. I think there
should be more apprenticeship
within the structure of the entire
business.
You mentioned in an in¬

learn

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terview around the time of the

first two

Godfather movies that
you expose the negative in a man¬
ner that protects the image from
overzealous lab

"improvement."

Willis: I used to cut it

closer, but I

was depending on re¬
peatability. That's not there any¬
more.
Repeatability is what the

offer, and I don't think
they're as careful as they used to

be. I think

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Subject to change due to
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knock down all the walls, and you
can see

everything, the excitement,

mystery, romance and magic are
gone. And they may be reaching
that point. It's like eating too much
chocolate.

COMPLETE BOLEX

50

^ccegH

SALES AND SERVICE

a

percentage of

that still wants to
see well-done films. And when it
shows up they go. But this business
of "every frame must burn" - I
think there's a balance to be found
somewhere.
race

What

person do?
Speak up. Voice
your opinion. Be true to the good
stuff and remember, as Longfellow
wrote, "the supreme excellence is
simplicity."
can a

Willis:

Filmography
End

of the Road

1970

Loving

1970

Little Murders

1970

Klute

1971

Up the Sandbox

1972

The

Godfather
Bad Company
The Paper Chase

1972

The Parallax View

1974

The

1974

February 1995

The

Godfather Part II
Drowning Pool

1972

1973

1975

All The President's Men

1976

Annie Hall

1977

Interiors

1978

Comes A Horseman

1978

Manhattan

1979

Windows

1980

Stardust Memories

1980

Pennies From Heaven

1981

lot of

pull-processing
goes on, and they skimp on replen¬
ishing. I don't think the process of
manufacturing film is that finite
anymore, either. If you factor in the
variables, they multiply each other,
and that's no good. I can no longer
hold negatives in a narrow range of
exposure to prevent printing op¬
tions. There is a certain depend¬
ability that's no longer with us.
What do you think of the
current tournament of explosives
in action filmmaking?
Willis: The things you
have to do to get people's attention
in a movie theater today is almost
ludicrous. Explosions, killing and
sex
those three things. If you
a

-

WE SHIP ANYWHERE

There is

the human

a

labs used to

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27' Cable Release with Side

unrepeatable, actually. You can't
give it away to other people.
Your background in¬

A Midsummer

Sex

Night's

Comedy

1982

Zelig

1983

Broadway Danny Rose

1984

The

1985

Purple Rose of Carlo

Perfect

1985

The

Money Pit

1986

The

Pick-up Artist

1987

Brights Lights, Big City

1988

Presumed Innocent

1990

The

1990

Godfather Part III

Malice

1993
American Cinematographer - February 1995

Table of Contents for the Digital Edition of American Cinematographer - February 1995
