American Cinematographer - March 1995 - 53

Opposite:
Cinematogra¬
pher Julio
Macat talks

f/stops with
young star
Mara Wilson.

This page, top:

Staging the
fictional
Christmas

parade proved
a logistical
test.

Bottom: Kris

WMC2Fieac0oceinohnnsatuhdfxrulr,y

PCahruislop

Kringle (Sir
Richard

Attenborough)
trundles past
the crowd,

armed with

bag of toys.

byPhot s

blue or other colors that are too
vibrant on the screen. Film just
loves to grab blue."
Macat wanted to stay on
the warm side, avoiding blues
and strong vibrant oranges and
reds. The sets verged on being

adamant about getting it off the
was the same with
Kathy
O'Rear and the costumes. She has
set. It

impeccable taste and a great un¬
derstanding of her craft, and she
was invaluable in
helping to con¬
trol the textures and tonalities.
"When I was researching

monochromatic, with dominant
tones of green and grey. Red was
used sparingly - e.g., in Santa's
outfit.
Macat explained the ala¬

colors, I pulled pages from maga¬
zines, photos and tones I thought
used to instigate
Macat says. "I kept

baster tonality that fascinated
him to Don Donici at DuArt Labs
in New York. He shot

some

tests

and had them printed in different
increments of green. "Green is

tough," Macat

"because as
it onto skin tones,
people look sick. It's a fine line;
two points look okay, but three
points are uncomplimentary to
the actors. The last thing we
soon as

says,

you get

wanted to do was to obscure the
natural beauty of someone like
Elizabeth Perkins."
His investment in pre¬

appropriate and could be
reactions,"
them in fold¬
ers. I showed them to
Doug when
we first started
talking. I knew I
had a partner when I noticed that
Doug had actually pulled the
same
pictures from the same
magazine. Once Doug, Kathy
and I came up with a logical plan
for our approach, we communi¬
cated our visual ideas to Les by
showing him the pictures. This
was an effective
language for us."
Macat's palette sub¬
were

I call

'adding in a panic/" Macat
"You arrive on the set, and
something is darker or lighter,
says.

and the colors start to clash, or a
color you talked about not using
is in the dressing. Things sneak
in. That

happened on this
Doug (Kraner) controlled
never

tracted certain colors from most
of the film without creating a

planning with Kraner paid divi¬

film.

dends. "When you have a film
like this with a lot of sets and ex¬

the color scheme of the sets, and

when he added those colors to

that

discipline trickled down to
his crew. If a prop didn't fit into
our color scheme, he was really

scene,

March 1995

American

tras, sometimes the color schemes
you

planned get lost via

a process

desaturated look. That way,
a

the impact had much more

punch. One of the payoffs for
subtracting overall blue

Cinematographer

was

the

51

a



American Cinematographer - March 1995

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