American Cinematographer - February 1995 - 72

the

had existing bays carved
ceiling, from which grips
could hang huge bay lights. Al¬
though this was a time- and laborintensive job, it allowed the film¬
makers to shoot the nightclub
scenes without
any additional
lights.
Bullets Over Broadway
marks the eighth time Di Palma,
Loquasto and Morse have worked
together as a team; they are cur¬
rently in production on their ninth

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my family now," says Di Palma
with great affection. "It's very im¬
are

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portant for me to have the same
team."

"There is

casual familiar¬

a

ity and trust between the four of
us," agrees Loquasto, "and we
have developed our own vocabu¬
lary. I sort of know how Carlo will
try to shoot things." The produc¬
tion designer compares the team to
a
group of boarders rather than to
a
family. "You recognize the elbow
in your face at the dining room
table," he smiles. "You know your

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each other."
"There's
tion for

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definite affec¬

another," agrees
Morse, who describes the group as
"sort of like college roommates. I
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one

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where I like to be. My feeling was

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"I think that [approach]
translates into filmmaking," she
concludes. "The result is improved

by virtue of working as a team and
trying to help each other out with¬
out worrying about who contrib¬
uted what. I think that's the way
Woody looks at it as well."
<*■
American Cinematographer - February 1995

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