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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:01,000 --> 00:00:04,074 Subtitles downloaded from www.OpenSubtitles.org 2 00:00:37,700 --> 00:00:39,338 (Thunder rumbles) 3 00:00:45,860 --> 00:00:47,498 (Lightning cracks) 4 00:00:53,540 --> 00:00:58,170 One night I was watching the 1947 version of Oliver Twist, 5 00:00:58,220 --> 00:01:01,690 David Lean's Oliver Twist, photographed by Guy Green 6 00:01:04,740 --> 00:01:08,494 We were watching the movie, watching the opening scenes of the film, 7 00:01:08,540 --> 00:01:13,898 of Oliver's mother in labour walking across this dark moor 8 00:01:13,940 --> 00:01:17,569 and my uncle just happened to say, "God, this photography is gorgeous." 9 00:01:17,620 --> 00:01:19,451 And I said, "Photography? " 10 00:01:19,500 --> 00:01:22,890 That's when I learned what a director of photography was 11 00:01:22,940 --> 00:01:25,693 I found out that I was unconsciously... 12 00:01:25,740 --> 00:01:27,139 I was responding to light 13 00:01:38,900 --> 00:01:42,131 In the beginning, all there was was a guy with a camera 14 00:01:42,180 --> 00:01:44,250 There were no directors. There was nothing 15 00:01:44,300 --> 00:01:47,849 There was a guy on the camera and he would shoot these subjects 16 00:01:47,900 --> 00:01:52,815 The subject may be 20 seconds long of a train coming at you, wherever it is 17 00:01:52,860 --> 00:01:55,169 Then actors were brought in 18 00:01:55,220 --> 00:01:58,496 and because the cameramen were basically photographers, 19 00:01:58,540 --> 00:02:00,849 and weren't that facile with performers, 20 00:02:00,900 --> 00:02:04,131 usually one of the performers directed the performers 21 00:02:04,180 --> 00:02:08,173 So, right in the very beginning, you saw that there was the division of duties 22 00:02:08,220 --> 00:02:11,098 There was the director who took care of the acting part, 23 00:02:11,140 --> 00:02:14,610 and there was the cameraman who took care of everything else 24 00:02:15,980 --> 00:02:19,097 The cinematographer's job is to tell people where to look, 25 00:02:19,140 --> 00:02:23,975 to say, "Look at this. She's going to weep and sing the aria," or, "He's going to draw the gun." 26 00:02:24,020 --> 00:02:28,172 Or, you know, "He feels OK, but behind him is an ape. You'd better look at the ape!" 27 00:02:28,220 --> 00:02:30,609 We do some things we don't realise we're doing 28 00:02:30,660 --> 00:02:33,857 until we see the film put together 29 00:02:33,900 --> 00:02:37,131 We did them out of instinct. We didn't know exactly why 30 00:02:37,180 --> 00:02:39,057 And they work for the picture 31 00:02:39,100 --> 00:02:41,773 And it's very hard to express a reason for it 32 00:02:41,820 --> 00:02:44,015 but it's there 33 00:02:44,060 --> 00:02:46,255 The great cinematographers are able to 34 00:02:46,300 --> 00:02:49,098 understand the stories they are trying to tell 35 00:02:49,140 --> 00:02:52,849 and find those elusive visual images 36 00:02:52,900 --> 00:02:55,255 that help to tell that story 37 00:02:57,580 --> 00:03:01,539 A great DP adds to the material that already exists, 38 00:03:01,580 --> 00:03:06,734 and really works to understand the subject matter 39 00:03:06,780 --> 00:03:09,772 and the language of the director they're working with 40 00:03:09,820 --> 00:03:11,458 I think visually 41 00:03:11,500 --> 00:03:14,333 I think of how, if you turned off the soundtrack, 42 00:03:14,380 --> 00:03:19,408 anybody would stick around and figure out what was going on 43 00:03:22,860 --> 00:03:25,055 There's just every technique, visually 44 00:03:25,100 --> 00:03:28,331 There's a language far more complex than words 45 00:03:37,140 --> 00:03:41,656 I enjoy going onto a stage that's totally black, striking a first light, and saying, "Here we go." 46 00:03:43,380 --> 00:03:46,292 That really turns me on, personally 47 00:03:47,660 --> 00:03:49,298 I wanted to copy... 48 00:03:51,060 --> 00:03:53,893 ...simulate what I saw on the screen by the giants and masters 49 00:03:53,940 --> 00:03:59,094 To this day, I still have a reverence of Charlie Lang, Stanley Cortez... 50 00:04:00,140 --> 00:04:02,813 ...and Ted McCord, and Arthur Miller... 51 00:04:03,820 --> 00:04:06,653 ...and Hal Moore, and Leon Shamroy, 52 00:04:06,700 --> 00:04:09,055 Milton Krasner and all those people 53 00:04:09,100 --> 00:04:11,739 I wanted to be like them 54 00:04:11,780 --> 00:04:13,771 I wanted to do what they did 55 00:04:15,100 --> 00:04:17,534 What you had to have in the black-and-white days, 56 00:04:17,580 --> 00:04:20,333 you had to have a real grasp of what photography meant 57 00:04:20,380 --> 00:04:23,850 Those were the real cinematographers. These people knew photography 58 00:04:24,820 --> 00:04:26,651 The more I've learned, and shot films, 59 00:04:26,700 --> 00:04:29,976 when I go back and look what was done in the teens and the '20s... 60 00:04:30,020 --> 00:04:32,170 Some years ago, I had the very good fortune 61 00:04:32,220 --> 00:04:36,133 to see an original negative print of Birth of a Nation, shot by Billy Bitzer, 62 00:04:36,180 --> 00:04:38,455 who was with Griffith on all of his early films 63 00:04:38,500 --> 00:04:42,413 It was an inspiration to realise what was achieved in that cinematography 64 00:04:42,460 --> 00:04:46,089 We're talking pretty close to the beginning of everything here 65 00:04:46,140 --> 00:04:49,291 and to realise what he accomplished with the equipment he had 66 00:04:49,340 --> 00:04:53,219 and how quickly so many things became much more sophisticated 67 00:05:07,220 --> 00:05:10,178 The '20s was really a golden age for cinema 68 00:05:10,220 --> 00:05:13,735 because the camera was unencumbered by sound 69 00:05:13,780 --> 00:05:17,409 And it was unencumbered by all the... 70 00:05:17,460 --> 00:05:22,409 devices that accompany verbal dialogue storytelling 71 00:05:23,460 --> 00:05:26,611 It really was a visual medium 72 00:05:33,380 --> 00:05:35,371 The early movies seemed to be freer 73 00:05:35,420 --> 00:05:37,058 I mean, 74 00:05:37,100 --> 00:05:39,250 you see like scenes like in Way Down East, 75 00:05:39,300 --> 00:05:40,972 when Lillian Gish is jumping 76 00:05:41,020 --> 00:05:42,851 from a piece of ice to another one, 77 00:05:42,900 --> 00:05:44,572 it's almost a documentary 78 00:05:44,620 --> 00:05:46,258 She actually is doing it 79 00:05:46,300 --> 00:05:49,178 and there is no tricks and no studio 80 00:05:51,620 --> 00:05:54,737 The camera was very free 81 00:05:54,780 --> 00:05:57,214 The camera could move very fast 82 00:05:57,260 --> 00:05:58,898 Cameras were much smaller 83 00:06:00,260 --> 00:06:02,376 and the fact that they didn't have sound 84 00:06:02,420 --> 00:06:05,059 allowed them to shoot very freely 85 00:06:07,420 --> 00:06:09,058 The camera could be anywhere 86 00:06:16,060 --> 00:06:18,574 JOHN BAILEY: And the Germans, in the '20s, 87 00:06:18,620 --> 00:06:20,417 were really the cutting edge 88 00:06:20,460 --> 00:06:23,099 Directors like Pabst and Murnau 89 00:06:23,140 --> 00:06:26,576 really took a lot of the formal elements 90 00:06:26,620 --> 00:06:29,817 that came out of German expressionist sculpture 91 00:06:29,860 --> 00:06:31,532 and painting and graphics 92 00:06:31,580 --> 00:06:34,458 and grafted them into film 93 00:06:34,500 --> 00:06:37,776 A lot of European film-makers - directors like Murnau - 94 00:06:37,820 --> 00:06:39,651 came to the United States 95 00:06:43,700 --> 00:06:47,978 The production of Sunrise was a real watershed for American film-making 96 00:06:48,020 --> 00:06:51,854 And that film was startling in every aspect 97 00:06:51,900 --> 00:06:53,572 In its design aspect 98 00:06:53,620 --> 00:06:57,215 Certainly in its use of expressionistic lighting techniques 99 00:06:57,260 --> 00:06:59,774 Character was revealed in Sunrise 100 00:06:59,820 --> 00:07:03,733 through a lot of very complicated lighting changes 101 00:07:03,780 --> 00:07:05,850 and dramatic lighting sources 102 00:07:05,900 --> 00:07:09,813 that were very, very new and fresh in the American films 103 00:07:13,260 --> 00:07:17,253 They had crane shots that went for ever and ever and ever 104 00:07:17,300 --> 00:07:19,370 And they had these kind of rigs, 105 00:07:19,420 --> 00:07:22,139 that would be rigged overhead in the studios 106 00:07:22,180 --> 00:07:25,092 This was all very inventive business that they did 107 00:07:25,140 --> 00:07:28,735 They had a fluid camera that would just continue on and on and on 108 00:07:28,780 --> 00:07:32,170 Where we have steadicams and things like that, and Panaglides, 109 00:07:32,220 --> 00:07:34,131 they were doing that some time ago 110 00:07:34,180 --> 00:07:35,852 We're talking 1927 111 00:07:51,940 --> 00:07:53,612 Everything had to be told visually 112 00:07:53,660 --> 00:07:56,333 and I think when sound came in, 113 00:07:56,380 --> 00:07:59,452 that was a great catastrophe for movie-making 114 00:07:59,500 --> 00:08:04,335 I still believe that if sound would have come in ten or 15 years later, 115 00:08:04,380 --> 00:08:11,218 I think the art of movies and cinematography would have been much, much higher 116 00:08:11,260 --> 00:08:13,012 than even it is today 117 00:08:13,060 --> 00:08:17,417 We've all seen those sequences from early sound films 118 00:08:17,460 --> 00:08:21,294 where it's all too obvious that there's a microphone 119 00:08:21,340 --> 00:08:23,695 planted in a flower vase at the centre of the table, 120 00:08:23,740 --> 00:08:26,732 cos all the actors are leaning forward, speaking into it 121 00:08:26,780 --> 00:08:28,611 But I really shouldn't blame you 122 00:08:28,660 --> 00:08:30,537 I'm the son ofyour employer 123 00:08:30,580 --> 00:08:34,619 and that in itself makes me a low, low scoundrel 124 00:08:34,660 --> 00:08:36,935 If I didn't trust you, I wouldn't be here 125 00:08:36,980 --> 00:08:38,459 So, here we are 126 00:08:38,500 --> 00:08:40,252 Chopped onions? 127 00:08:40,300 --> 00:08:43,656 JOHN BAILEY: The camera can't move at all, it can't even pan or tilt, 128 00:08:43,700 --> 00:08:48,615 because it's in a huge, soundproof refrigerator or ice box 129 00:08:49,660 --> 00:08:54,017 and it took a number of years for cinematographers 130 00:08:54,060 --> 00:08:57,689 to start thinking about ways to free the camera again 131 00:08:57,740 --> 00:08:59,412 (Dr Jekyll gasps for breath) 132 00:09:07,420 --> 00:09:10,014 If a director, as Rouben Mamoulian did, 133 00:09:10,060 --> 00:09:13,575 cared enough to fight for his mobile camera 134 00:09:13,620 --> 00:09:16,339 and the whole idea that you could do a sound film, 135 00:09:16,380 --> 00:09:18,974 where you didn't record sound for every shot 136 00:09:19,020 --> 00:09:22,137 or perhaps you would add the sound later 137 00:09:24,540 --> 00:09:27,577 I think you see with Mamoulian, with Lubitsch, 138 00:09:27,620 --> 00:09:29,292 you see some early talkies... 139 00:09:29,340 --> 00:09:30,978 You see it with Vidor 140 00:09:31,020 --> 00:09:34,137 I mean, these people refused to be bound to the conventional 141 00:09:34,180 --> 00:09:36,614 Good work was being done. It was more difficult 142 00:09:36,660 --> 00:09:38,298 Mommy! 143 00:09:39,340 --> 00:09:40,659 All right, boys 144 00:09:40,700 --> 00:09:43,055 Now, when you come through there... 145 00:09:43,100 --> 00:09:45,455 Once, of course, the camera could be blimped 146 00:09:45,500 --> 00:09:47,809 in some kind of a portable device, soundproofed, 147 00:09:47,860 --> 00:09:52,092 it could then be put on a dolly and the camera could be moved again 148 00:09:52,140 --> 00:09:56,452 Of course, it energises and infuses the whole feel of a film 149 00:09:56,500 --> 00:09:59,731 to have a camera that can move with actors, 150 00:09:59,780 --> 00:10:01,452 can move counter to actors 151 00:10:01,500 --> 00:10:02,853 Are you giving me the run-around? 152 00:10:07,940 --> 00:10:12,536 # ln the winter that we bring spring to you 153 00:10:13,620 --> 00:10:17,579 The '30s brought in the full flowering of the studio system 154 00:10:17,620 --> 00:10:20,657 And the leading cinematographers helped create 155 00:10:20,700 --> 00:10:24,136 what was considered to be a studio look 156 00:10:24,180 --> 00:10:26,375 There was the gloss of Paramount, 157 00:10:26,420 --> 00:10:29,730 the harder-edged look that Warner Brothers was noted for, 158 00:10:30,700 --> 00:10:33,134 and the glamour that we associate with MGM 159 00:10:44,540 --> 00:10:47,850 In the heavy studio times, 160 00:10:47,900 --> 00:10:51,939 through the '30s, through the '50s, 161 00:10:51,980 --> 00:10:54,050 every studio had its own laboratory 162 00:10:54,100 --> 00:10:59,379 and every studio was trying to make what they did distinctive and different 163 00:10:59,420 --> 00:11:04,016 And it depended very much on the group of contract cameramen 164 00:11:04,060 --> 00:11:09,453 and art directors and directors, how they ran their operation 165 00:11:09,500 --> 00:11:11,172 Quiet, everybody! 166 00:11:12,180 --> 00:11:16,458 They learned together and they developed this technique 167 00:11:16,500 --> 00:11:18,411 and they invented the equipment 168 00:11:18,460 --> 00:11:22,339 Everything you see on a movie camera was invented by some cameraman 169 00:11:22,380 --> 00:11:24,211 because he needed to do something 170 00:11:24,260 --> 00:11:26,728 and he didn't know how to do it 171 00:11:26,780 --> 00:11:30,455 and so they had these machine shops and they would just fabricate this stuff 172 00:11:30,500 --> 00:11:34,049 It was a system where people really followed up through the system 173 00:11:34,100 --> 00:11:36,330 You were an assistant. You worked your way up 174 00:11:36,380 --> 00:11:39,690 You followed in the footsteps of the person that you were working under 175 00:11:39,740 --> 00:11:46,213 And so it tended to create a stronger impression of, you know, a particular style, 176 00:11:46,260 --> 00:11:48,251 that we think of as being Hollywood 177 00:11:53,740 --> 00:11:56,379 It was no joke. You finished on a Saturday night, 178 00:11:56,420 --> 00:11:59,014 and Monday morning you started a different picture 179 00:11:59,060 --> 00:12:02,735 Sometimes with Sunday to read the script. They kept you working 180 00:12:02,780 --> 00:12:06,216 You were paid a very good salary, but you didn't get to goof off 181 00:12:06,260 --> 00:12:11,254 and it was only on the very biggest pictures where you might have a long period of testing 182 00:12:17,500 --> 00:12:20,458 So, these people were tested every day as they worked, 183 00:12:20,500 --> 00:12:22,570 and had to be able to handle different things 184 00:12:23,620 --> 00:12:27,056 I'm sure they were assigned to their strengths 185 00:12:27,100 --> 00:12:28,772 by studios sometimes, 186 00:12:28,820 --> 00:12:30,458 but sometimes they weren't 187 00:12:30,500 --> 00:12:34,288 I think the system had its good points and its bad points for cinematographers, 188 00:12:34,340 --> 00:12:36,012 as it did for everyone 189 00:12:36,060 --> 00:12:37,698 I think that today we look back 190 00:12:37,740 --> 00:12:39,731 and sometimes there's a nostalgia 191 00:12:39,780 --> 00:12:42,169 After years of berating the studio system, 192 00:12:42,220 --> 00:12:45,337 now we sort of say, "Gee, but they made so many pictures, 193 00:12:45,380 --> 00:12:47,371 and you had so many opportunities." 194 00:13:11,780 --> 00:13:13,418 Have a drink? 195 00:13:13,460 --> 00:13:16,418 JOHN BAILEY: The dominance of the actor and the actress 196 00:13:16,460 --> 00:13:20,055 as the driving engine of the Hollywood movies 197 00:13:20,100 --> 00:13:23,695 dictated a certain kind of vocabulary 198 00:13:23,740 --> 00:13:28,097 that, basically, were medium shots, close-ups, over-the-shoulders 199 00:13:28,140 --> 00:13:33,498 and the principle was to make the actors, especially the leading actor and actress, 200 00:13:33,540 --> 00:13:37,977 look as handsome and as beautiful as possible 201 00:13:38,020 --> 00:13:41,569 When you photographed a star well, 202 00:13:41,620 --> 00:13:45,499 they had enough power to be able to put you under contract 203 00:13:46,500 --> 00:13:51,528 Or, at least, to insist that that cinematographer would photograph them 204 00:13:54,060 --> 00:13:56,528 Louis B Meyer was a very smart man 205 00:13:57,580 --> 00:13:59,775 He'd call the cameramen in and he'd say, 206 00:13:59,820 --> 00:14:02,175 "I don't care what the star goes through, 207 00:14:03,180 --> 00:14:08,015 flood, fire, I don't care, she's got to look beautiful." 208 00:14:09,060 --> 00:14:10,891 This is the first thing you learn, 209 00:14:10,940 --> 00:14:14,455 because this is actually a cameraman's bread and butter 210 00:14:14,500 --> 00:14:16,092 They used to tell the cameraman, 211 00:14:16,140 --> 00:14:19,689 "Put your shadows anywhere, but don't put any shadows on their faces." 212 00:14:19,740 --> 00:14:21,219 They wanted to see their faces 213 00:14:21,260 --> 00:14:22,739 and that was the rule 214 00:14:23,820 --> 00:14:26,334 Most of the photography out there had that look 215 00:14:26,380 --> 00:14:28,052 (Plays piano) 216 00:14:30,260 --> 00:14:33,730 Women stars particularly, at that time, were very important 217 00:14:33,780 --> 00:14:35,975 and they wanted their own photographers 218 00:14:36,020 --> 00:14:40,252 Garbo wouldn't have anybody but Bill Daniels do her pictures 219 00:14:43,580 --> 00:14:49,177 After all, when one may not have long to live, why shouldn't one have fancies? 220 00:14:49,220 --> 00:14:52,292 Here's a man who'd been very much a rebel film-maker, 221 00:14:52,340 --> 00:14:55,218 who later on went on to make his own reputation 222 00:14:55,260 --> 00:14:57,490 as the studio cameraman par excellence 223 00:14:58,460 --> 00:15:00,371 I was sad, when Garbo died, 224 00:15:00,420 --> 00:15:04,618 that not many papers mentioned Bill Daniels' name 225 00:15:04,660 --> 00:15:09,939 Because this is a man that created with her her whole screen persona 226 00:15:17,260 --> 00:15:18,978 If you noticed, 227 00:15:19,020 --> 00:15:22,490 the beautiful jobs that were done on Marlene Dietrich 228 00:15:22,540 --> 00:15:24,735 Where she would be maybe... 229 00:15:24,780 --> 00:15:29,331 If you light a set at 100 foot-candles, she would be at 110, 115 foot-candles 230 00:15:29,380 --> 00:15:33,009 She would have just a little bit more light on her than anybody else 231 00:15:33,060 --> 00:15:35,130 so she would pop out amongst the crowd 232 00:15:35,180 --> 00:15:36,898 (Train clatters over tracks) 233 00:15:40,260 --> 00:15:43,093 It sounds funny, but I don't seem to be able to entertain you 234 00:15:45,260 --> 00:15:49,139 I hate to be entertained. Please don 't do it 235 00:15:49,180 --> 00:15:51,330 I shot her on a picture called Desire 236 00:15:52,380 --> 00:15:56,612 and I found out that her face needs a completely different kind of lighting 237 00:15:56,660 --> 00:16:00,699 A high key light that would narrow her cheeks down 238 00:16:01,740 --> 00:16:03,378 And just made her look well 239 00:16:03,420 --> 00:16:05,809 Sternberg, I think, found that out 240 00:16:05,860 --> 00:16:09,739 In fact, she almost insisted. She'd say, "That's the light I'd like to use up there." 241 00:16:09,780 --> 00:16:11,577 Won't you please get out of here? 242 00:16:11,620 --> 00:16:14,771 Now, is that a nice way to talk to the man whose name you bear? 243 00:16:14,820 --> 00:16:16,856 All right, I took your name. So what? 244 00:16:16,900 --> 00:16:19,972 Claudette Colbert, yes, she had to be lit on one side 245 00:16:20,020 --> 00:16:21,658 You probably know that 246 00:16:21,700 --> 00:16:25,579 We even built the set so that she would always be on one side of her face 247 00:16:25,620 --> 00:16:29,010 She really did have problems with the other side of her face 248 00:16:29,060 --> 00:16:30,937 So, once in a while, I'd get a man star 249 00:16:30,980 --> 00:16:34,655 Strange, though, when both of them had to be lit on one side 250 00:16:34,700 --> 00:16:36,418 Now you had problems! 251 00:16:42,700 --> 00:16:47,376 It was the studio look that was pre-eminent rather than individual cinematographers 252 00:16:47,420 --> 00:16:49,456 But there were coming out of that, 253 00:16:49,500 --> 00:16:51,331 you know, really stellar people... 254 00:16:52,380 --> 00:16:54,257 like George Folsey, 255 00:16:54,300 --> 00:16:55,938 like Gregg Toland, 256 00:16:55,980 --> 00:16:57,652 like Arthur Miller, 257 00:16:57,700 --> 00:17:00,419 ...who had such strength, 258 00:17:00,460 --> 00:17:02,928 and such individual voice, 259 00:17:02,980 --> 00:17:07,258 that they kind oftranscended whatever studio they happened to work for 260 00:17:07,300 --> 00:17:12,772 Today, you look back and very easily recognise a lot of their films from the look, 261 00:17:12,820 --> 00:17:14,333 irrespective of director even 262 00:17:16,980 --> 00:17:18,652 WOMAN: Do you wish anything, madam? 263 00:17:25,780 --> 00:17:27,975 I didn't expect to see you, Mrs Danvers 264 00:17:28,020 --> 00:17:30,818 I noticed that a window wasn't closed... 265 00:17:30,860 --> 00:17:36,059 George Barnes, I admired his work, too. He did romantic work, wonderfully imaginative 266 00:17:36,100 --> 00:17:37,738 and just great-looking 267 00:17:41,220 --> 00:17:42,892 It's a lovely room, isn't it? 268 00:17:43,940 --> 00:17:45,976 The loveliest room you've ever seen 269 00:17:46,020 --> 00:17:48,534 Everything is kept just as Mrs de Winter liked it 270 00:17:48,580 --> 00:17:50,935 Nothing has been altered since that last night 271 00:17:50,980 --> 00:17:54,336 Gregg Toland learned his craft through George Barnes 272 00:17:54,380 --> 00:17:58,089 I think he was with him for many, many pictures 273 00:17:59,140 --> 00:18:02,974 And then Gregg broke away doing his own and did wonderful work 274 00:18:04,580 --> 00:18:09,256 SVEN NYKVIST: The one I really was inspired on was Gregg Toland 275 00:18:10,300 --> 00:18:13,292 I saw all his films and I remember the first one, 276 00:18:13,340 --> 00:18:17,015 that was The Long Voyage Home 277 00:18:18,940 --> 00:18:20,578 (Ship foghorn) 278 00:18:26,780 --> 00:18:28,850 It was fantastic 279 00:18:28,900 --> 00:18:32,370 He worked with a depth of field the whole time 280 00:18:32,420 --> 00:18:34,934 and lighting was so interesting 281 00:18:34,980 --> 00:18:39,735 because he dared to take a lot of contrast in the pictures 282 00:18:41,420 --> 00:18:45,333 And perhaps it was a little too much sometimes, 283 00:18:45,380 --> 00:18:48,690 but for a cinematographer, it was fantastic 284 00:18:51,780 --> 00:18:53,418 Let's take him aboard! 285 00:18:53,460 --> 00:18:55,132 On your feet! 286 00:18:59,100 --> 00:19:03,139 JOHN BAILEY: He did a film for John Ford, The Grapes of Wrath, 287 00:19:03,180 --> 00:19:06,729 which had a very naturalistic feel, 288 00:19:06,780 --> 00:19:08,975 almost a documentary reality 289 00:19:09,020 --> 00:19:12,376 You can take frames from The Grapes of Wrath 290 00:19:12,420 --> 00:19:15,537 and put 'em alongside the WPA photographs 291 00:19:15,580 --> 00:19:19,334 of Walker Evans or Dorothea Lange or Doris Ulmann or anybody, 292 00:19:19,380 --> 00:19:22,497 and it's really hard to tell the difference 293 00:19:22,540 --> 00:19:24,531 (Vehicle engine chugs) 294 00:19:36,100 --> 00:19:38,091 (Dog barks) 295 00:19:46,660 --> 00:19:48,651 He did seem to have an eye for things 296 00:19:49,660 --> 00:19:51,651 and also he was very creative 297 00:19:51,700 --> 00:19:53,292 For instance, 298 00:19:53,340 --> 00:19:58,858 we much later started doing filming with candlelight, for instance, or a match 299 00:19:58,900 --> 00:20:01,289 and he already did it in The Grapes of Wrath 300 00:20:01,340 --> 00:20:04,013 He didn't have the technology we have today 301 00:20:04,060 --> 00:20:05,698 Film was not as fast as it was 302 00:20:05,740 --> 00:20:08,857 But already you get the idea that, actually, the light, 303 00:20:08,900 --> 00:20:12,097 when he's describing that empty house, 304 00:20:12,140 --> 00:20:14,017 comes from the hand and the match 305 00:20:18,740 --> 00:20:20,412 Toland was a gambler 306 00:20:21,460 --> 00:20:23,098 He was a real gambler 307 00:20:23,140 --> 00:20:25,017 He wasn't afraid to try anything 308 00:20:26,060 --> 00:20:28,574 I remember when they were doing Citizen Kane 309 00:20:28,620 --> 00:20:33,057 I was working in the trick department at Selznick and they shot it at Selznick Studio 310 00:20:33,100 --> 00:20:35,819 Is that really your idea of how to run a newspaper? 311 00:20:35,860 --> 00:20:39,170 I don't know how to run a newspaper. I just try everything I can think of 312 00:20:39,220 --> 00:20:43,293 He was working with Orson Welles who was also a gambler 313 00:20:44,300 --> 00:20:46,814 The two of 'em made a wonderful pair on that picture 314 00:20:46,860 --> 00:20:48,498 Wonderful pair 315 00:20:48,540 --> 00:20:52,852 Wouldn't you love to have known what films that Welles and Toland screened together? 316 00:20:52,900 --> 00:20:57,496 And what they enjoyed? Obviously Welles had seen Toland's work and been impressed with it 317 00:20:57,540 --> 00:21:01,089 The idea that Toland understood all the rules he could break 318 00:21:01,940 --> 00:21:04,579 VOICEOVER: No public man whom Kane himself... 319 00:21:04,620 --> 00:21:09,569 ALLEN DAVIAU: The film opens up with a send-up of the March of Time newsreel 320 00:21:09,620 --> 00:21:12,214 And, I mean, it is done with such loving detail 321 00:21:12,260 --> 00:21:17,254 I mean, in terms of texures and contrasts and dupes and scratching film intentionally 322 00:21:17,300 --> 00:21:19,655 What a wonderful time they had to have 323 00:21:19,700 --> 00:21:24,490 sitting around there, thinking up all of the different things they were gonna do in that film 324 00:21:24,540 --> 00:21:28,931 They must have had a very good trust for one another, 325 00:21:28,980 --> 00:21:33,895 because a director has to kind of embrace their DP, to let them go 326 00:21:33,940 --> 00:21:37,057 And what Toland contributed is so amazing to that film 327 00:21:37,100 --> 00:21:38,738 The deep space 328 00:21:38,780 --> 00:21:40,452 And the camera blocking 329 00:21:41,500 --> 00:21:48,656 It takes a certain kind of director to want to put up with being that demanding on their actors 330 00:21:48,700 --> 00:21:52,818 That's complete choreography of acting to camera 331 00:21:52,860 --> 00:21:54,373 By having the deep focus, 332 00:21:54,420 --> 00:21:57,651 he was able to give Orson a lot more leeway on how he moved his actors 333 00:21:57,700 --> 00:21:59,099 It freed him up 334 00:21:59,140 --> 00:22:02,849 I think that was a tremendous contribution Gregg gave to the film 335 00:22:02,900 --> 00:22:04,572 Be careful, Charles 336 00:22:04,620 --> 00:22:06,531 Pull your muffler round your neck 337 00:22:06,580 --> 00:22:08,571 I think we shall have to tell him now 338 00:22:08,620 --> 00:22:10,258 We always have this problem 339 00:22:10,300 --> 00:22:14,373 with cinematography not being able to carry somebody in the foreground 340 00:22:14,420 --> 00:22:17,378 who's sharper in focus than somebody 20 feet back 341 00:22:17,420 --> 00:22:21,777 Gregg had, for a number of years, been working on new lenses, faster lenses, 342 00:22:21,820 --> 00:22:24,050 that would allow him to pour more light in 343 00:22:24,100 --> 00:22:27,570 and get a greater depth in these scenes 344 00:22:27,620 --> 00:22:29,690 And that's one of the things, I think, 345 00:22:29,740 --> 00:22:32,573 that gave Citizen Kane the kind of dynamics that it had 346 00:22:32,620 --> 00:22:36,249 Extraordinary dynamics compared to other films at the time 347 00:22:36,300 --> 00:22:40,418 In 1948, it played in one of the... 348 00:22:40,460 --> 00:22:43,338 most popular cinemas in Budapest 349 00:22:43,380 --> 00:22:45,018 Exactly one week 350 00:22:45,060 --> 00:22:47,528 And the government just pulled it right after that 351 00:22:47,580 --> 00:22:50,413 The little screening room was packed 352 00:22:50,460 --> 00:22:53,611 because we'd heard Citizen Kane is going to be screened 353 00:22:53,660 --> 00:22:58,734 which was one of the major events, I think, at that time 354 00:22:59,780 --> 00:23:02,897 That was the first time I'd seen Citizen Kane 355 00:23:02,940 --> 00:23:08,810 and I just couldn't believe the magnitude and the magic of film-making 356 00:23:08,860 --> 00:23:10,498 And after a while, 357 00:23:10,540 --> 00:23:13,293 Citizen Kane was like a textbook for us 358 00:23:14,340 --> 00:23:17,013 It's so sad they never got to collaborate again 359 00:23:17,060 --> 00:23:21,372 And Welles' regard for him is expressed, very plainly, 360 00:23:21,420 --> 00:23:25,379 in the end title card of the film, where Welles shared his title card with Toland 361 00:23:39,260 --> 00:23:44,778 Film noir really had its high water mark right after the war 362 00:23:44,820 --> 00:23:47,129 The visual style of film noir, I think, 363 00:23:47,180 --> 00:23:52,300 has fingerprints going back very early in German Expressionist cinema 364 00:23:56,900 --> 00:23:58,891 They had a sparseness 365 00:23:58,940 --> 00:24:02,091 A visual and stylistic sparseness 366 00:24:02,140 --> 00:24:04,779 What is the bare-bones story? 367 00:24:04,820 --> 00:24:07,334 What are the bare-bones facts of the characters? 368 00:24:07,380 --> 00:24:12,249 And what is the basic visual information we need to tell the story? 369 00:24:12,300 --> 00:24:19,058 And so, film noir developed an increasingly dense and rarefied visual vocabulary 370 00:24:19,100 --> 00:24:22,456 that had to do with very strong single-source lighting, 371 00:24:22,500 --> 00:24:26,288 slashes of light, dark shadows, low angles... 372 00:24:26,340 --> 00:24:28,808 Extremely strong graphic elements 373 00:24:28,860 --> 00:24:32,739 that had kind of a primal simplicity to them 374 00:24:38,220 --> 00:24:39,938 (Woman laughs) 375 00:24:56,140 --> 00:24:59,132 We weren't expecting you, Mildred. Obviously 376 00:25:06,020 --> 00:25:12,050 John Alton is really one of the pre-eminent film noir cinematographers 377 00:25:12,100 --> 00:25:16,139 ALLEN DAVIAU: Alton and the people in film noir were not afraid of the dark 378 00:25:16,180 --> 00:25:22,653 In fact, they were willing to sketch things just very, very, very slightly 379 00:25:22,700 --> 00:25:26,739 to see how you could use dark, not as negative space, 380 00:25:26,780 --> 00:25:29,374 but as the most important element in the scene 381 00:25:29,420 --> 00:25:31,058 (Gunshots) 382 00:25:35,300 --> 00:25:37,370 We all have been influenced by that 383 00:25:37,420 --> 00:25:40,890 in terms of what's important are the lights you don't turn on 384 00:25:40,940 --> 00:25:42,851 Go! 385 00:25:42,900 --> 00:25:44,572 (Gunfire) 386 00:25:46,540 --> 00:25:51,568 Alton did one picture particularly that I feel is very influential 387 00:25:51,620 --> 00:25:54,134 called The Big Combo 388 00:25:54,180 --> 00:25:57,934 which is a very simple, inelegant film, 389 00:25:57,980 --> 00:26:00,778 that is somewhat brutal in a way, 390 00:26:00,820 --> 00:26:06,099 but which incorporates these very sparse lighting elements and graphic elements 391 00:26:06,140 --> 00:26:08,938 So that it is very much black and white 392 00:26:08,980 --> 00:26:11,175 There's very little grey in that movie 393 00:26:16,500 --> 00:26:21,255 You can take almost any sequence - and certainly the final sequence in The Big Combo, 394 00:26:21,300 --> 00:26:25,612 which has as a single light source, a searchlight going around this dockside 395 00:26:25,660 --> 00:26:28,697 It ends with a gunfight taking place against that 396 00:26:28,740 --> 00:26:33,734 The final shot is a silhouette walking out into sort of a grey dawn 397 00:26:33,780 --> 00:26:36,533 I mean, very stark imagery 398 00:26:51,340 --> 00:26:56,573 You end up at the end of the noir period with a film like Touch of Evil by Orson Welles, 399 00:26:56,620 --> 00:27:00,135 which was enormously baroque and complex in its style, 400 00:27:00,180 --> 00:27:02,171 but was still, basically, a film noir 401 00:27:03,620 --> 00:27:05,736 Told you I brought you up here for a reason 402 00:27:07,220 --> 00:27:10,974 ALLEN DAVIAU: Welles had caused to be brought to Universal Studios 403 00:27:11,020 --> 00:27:14,410 one of these Eclair Camรฉflex lightweight European cameras 404 00:27:14,460 --> 00:27:18,453 He had a very enthusiastic young operator named Philip Lathrop 405 00:27:18,500 --> 00:27:21,731 and Lathrop got very into hand-holding this 406 00:27:21,780 --> 00:27:24,453 and working with Welles on these compositions 407 00:27:24,500 --> 00:27:27,697 You see some of the scenes and realise how much hand-holding was done, 408 00:27:27,740 --> 00:27:29,617 but it's extremely seamless 409 00:27:40,500 --> 00:27:43,697 That film, in particular, was an inspiration to all of us 410 00:27:43,740 --> 00:27:46,538 because it was a textbook of what you could do 411 00:27:46,580 --> 00:27:50,129 It was shot on a small budget in a short time, mostly on locations, 412 00:27:50,180 --> 00:27:52,091 and again you had, 413 00:27:52,140 --> 00:27:57,658 almost simultaneous with the breakout in France of the New Wave, 414 00:27:57,700 --> 00:28:01,534 you had Orson Welles doing a New Wave film in a Hollywood studio 415 00:28:11,180 --> 00:28:14,968 I think it's continued to be an inspiration to a lot of film-makers 416 00:28:27,340 --> 00:28:29,331 (Birdsong) 417 00:28:31,860 --> 00:28:35,216 Colour processes were always being experimented with, 418 00:28:35,260 --> 00:28:37,330 from the very beginning of cinema, 419 00:28:37,380 --> 00:28:40,736 even before there was a de facto colour process 420 00:28:40,780 --> 00:28:43,499 Film-makers occasionally hand-painted frame by frame 421 00:28:43,540 --> 00:28:46,816 entire sequences or even entire films 422 00:28:46,860 --> 00:28:50,489 Then later in the silent period, overall tinting for sequences, 423 00:28:50,540 --> 00:28:55,933 like blue for night, amber for dawn, or whatever, was also practised 424 00:28:55,980 --> 00:28:58,016 (Crowd cheering) 425 00:28:59,060 --> 00:29:00,698 And then during the '30s, 426 00:29:00,780 --> 00:29:05,137 Ray Rennahan photographed a film called Mystery of the Wax Museum 427 00:29:05,180 --> 00:29:06,693 using a two-colour process, 428 00:29:06,740 --> 00:29:11,575 which incorporated two strips of film running simultaneously through the camera 429 00:29:13,940 --> 00:29:18,297 Ray Rennahan had been doing some gorgeous stuff with the two-colour process earlier, 430 00:29:18,340 --> 00:29:21,332 but when the three-colour process arrived, 431 00:29:21,380 --> 00:29:26,215 and they started to appreciate the fact that this was something quite sophisticated, 432 00:29:26,260 --> 00:29:27,898 the interest in it grew 433 00:29:35,780 --> 00:29:38,135 The process was recognised as startling 434 00:29:38,180 --> 00:29:42,219 It was subtle and beautifully gradated in its tonality 435 00:29:42,260 --> 00:29:46,617 Interest in it immediately grew and led to some of the really crowning achievements 436 00:29:46,660 --> 00:29:49,857 of the late '30s and early '40s in colour cinematography 437 00:29:57,860 --> 00:30:00,852 Another dance, and my reputation will be lost for ever 438 00:30:00,900 --> 00:30:03,858 With enough courage, you can do without a reputation 439 00:30:03,900 --> 00:30:06,016 Oh, you do talk scandalous! 440 00:30:09,820 --> 00:30:11,856 When Gone With the Wind came in, 441 00:30:11,900 --> 00:30:15,051 they started on what they called the new film, a fast film 442 00:30:15,100 --> 00:30:18,251 But everything had to be lit with arcs 443 00:30:18,300 --> 00:30:19,938 And with this amount of light, 444 00:30:21,420 --> 00:30:25,333 it was very difficult working under those conditions 445 00:30:28,660 --> 00:30:31,493 Victor Fleming, of course, used to be a cameraman 446 00:30:32,940 --> 00:30:34,612 before he became a director 447 00:30:34,660 --> 00:30:36,298 and he knew the camera 448 00:30:36,340 --> 00:30:38,012 He knew the limitations 449 00:30:39,060 --> 00:30:43,770 Now, the shot of the station 450 00:30:43,820 --> 00:30:46,653 with all the dummies and the people dead, 451 00:30:46,700 --> 00:30:51,854 we had to have a special crane that came up from Long Beach 452 00:30:51,900 --> 00:30:54,539 It was a long pole that they used, a derrick, 453 00:30:54,580 --> 00:30:56,855 and that was a difficult shot 454 00:30:56,900 --> 00:31:00,131 But I thought that was one of the best shots in the picture 455 00:31:14,940 --> 00:31:18,694 For the people who had done black and white, to go into colour, 456 00:31:18,740 --> 00:31:23,370 it was not only a technical adaption, but it was a philosophical one 457 00:31:23,420 --> 00:31:28,972 Having to learn to see in black and white is a very great discipline 458 00:31:29,020 --> 00:31:31,136 And to suddenly, after years and years 459 00:31:31,180 --> 00:31:36,049 of focusing all of your faculties into being able to previsualise 460 00:31:36,100 --> 00:31:38,534 how a scene was going to appear in black and white, 461 00:31:38,580 --> 00:31:41,413 and suddenly say, "Oh, well, here it is in colour..." 462 00:31:41,460 --> 00:31:45,612 Black and white is a much more immediately abstract medium 463 00:31:45,660 --> 00:31:49,130 It's removed from reality by its very nature 464 00:31:49,180 --> 00:31:53,731 And you're more free to associate drama and tonality and so on 465 00:31:53,780 --> 00:31:55,452 inside black and white, 466 00:31:55,500 --> 00:31:59,698 and I think that's why many of them never wanted to leave it 467 00:31:59,740 --> 00:32:03,096 Those of us who just missed our chance to do black and white, 468 00:32:03,140 --> 00:32:06,769 I look forward to the day when I get to do a black and white picture 469 00:32:06,820 --> 00:32:09,175 I have no doubt it's going to be difficult 470 00:32:09,220 --> 00:32:12,929 and I think that for us, it's going to be going the other direction 471 00:32:12,980 --> 00:32:22,013 # Leaning on the everlasting arms 472 00:32:23,460 --> 00:32:25,132 Shame on you, Ruby, 473 00:32:25,180 --> 00:32:28,297 mooning around the house after that mad dog of a man 474 00:32:30,340 --> 00:32:32,376 Every one of the old-time DPs, 475 00:32:32,420 --> 00:32:34,934 like Charlie Clarke and Leon Shamroy 476 00:32:34,980 --> 00:32:38,814 and Arthur Miller and James Wong Howe, the people I met and knew, 477 00:32:38,860 --> 00:32:42,489 they really thought of it as a job and they thought of it as a craft 478 00:32:43,660 --> 00:32:47,938 And when you would talk to them about any kind of art kind of thing, 479 00:32:47,980 --> 00:32:53,657 they would never kind of admit to it being art 480 00:32:53,700 --> 00:32:59,377 They'd say, "Oh, yeah, we did this interesting effect in the picture or that interesting effect." 481 00:32:59,420 --> 00:33:01,058 When you make a movie, 482 00:33:01,100 --> 00:33:03,375 you've got to have a screenplay, a story 483 00:33:04,900 --> 00:33:09,610 That story really dictates to what we are going to do 484 00:33:09,660 --> 00:33:12,220 How to shoot it. How to photograph it 485 00:33:12,260 --> 00:33:14,012 How to direct it, how to act it 486 00:33:14,060 --> 00:33:18,212 Everyone is subservient to that 487 00:33:18,260 --> 00:33:20,569 We can go one way or the other, 488 00:33:20,620 --> 00:33:23,009 to get our own ideas in it 489 00:33:23,060 --> 00:33:25,096 but not get our personality in it 490 00:33:26,140 --> 00:33:29,610 MAN: Get these papers while they're hot! 491 00:33:29,660 --> 00:33:31,616 - Latest paper here! - Come on, come on! 492 00:33:31,660 --> 00:33:33,173 Keep your sweatshirt on 493 00:33:34,580 --> 00:33:38,892 JAMES WONG HOWE: As a cameraman, I try to keep the mechanics out of it 494 00:33:38,940 --> 00:33:41,454 Not to interfere with the scene 495 00:33:41,500 --> 00:33:48,497 And I try... really try to find the most simple approach in lighting 496 00:33:49,500 --> 00:33:54,699 I don't want my photography to get in the way of the story, of the acting 497 00:33:54,740 --> 00:33:56,731 (Horn honks) 498 00:34:09,500 --> 00:34:11,172 I'll remember you, honey 499 00:34:12,700 --> 00:34:14,338 You're the one that got away 500 00:34:27,260 --> 00:34:29,979 I worked for James Wong Howe 501 00:34:30,020 --> 00:34:32,978 on second unit camera on a picture called Picnic 502 00:34:35,180 --> 00:34:37,614 I did a number of the game shots 503 00:34:37,660 --> 00:34:40,128 and also the last shot of the film, 504 00:34:40,180 --> 00:34:41,818 which was a helicopter shot 505 00:34:41,860 --> 00:34:44,055 And at that time, 506 00:34:44,100 --> 00:34:47,251 helicopters were not used for photography 507 00:34:47,300 --> 00:34:50,895 The military, and the navy as a matter of fact, just had helicopters 508 00:34:50,940 --> 00:34:53,738 One of the best moments of my life 509 00:34:53,780 --> 00:34:56,852 was when the dailies came on, 510 00:34:56,900 --> 00:34:59,698 which was about three days later 511 00:34:59,740 --> 00:35:01,458 It was Cinemascope at the time 512 00:35:01,500 --> 00:35:04,173 And I was sitting next to Jimmy Howe 513 00:35:05,180 --> 00:35:07,011 And my scene came up, 514 00:35:08,020 --> 00:35:09,692 and it was quite spectacular, 515 00:35:09,740 --> 00:35:13,733 particularly to an audience who had not seen helicopter shots before 516 00:35:13,780 --> 00:35:16,578 And Jimmy Howe said, "Very good, very good." 517 00:35:16,620 --> 00:35:18,258 And so, even now, when I shoot, 518 00:35:18,300 --> 00:35:21,770 when I do a shot that I really like, 519 00:35:21,820 --> 00:35:28,168 I say in my ear the way Jimmy Howe said to me, "Very good, very good." 520 00:35:28,220 --> 00:35:29,892 (Laughter) 521 00:35:29,940 --> 00:35:31,612 No, leave room for the cake! 522 00:35:32,620 --> 00:35:36,329 The anamorphic aspect ratio was extremely horizontal 523 00:35:36,380 --> 00:35:38,018 and rectangular 524 00:35:38,060 --> 00:35:43,373 And films up until that time had been composed in almost a square format 525 00:35:43,420 --> 00:35:48,210 And now with this rather large and sometimes empty anamorphic space, 526 00:35:48,260 --> 00:35:52,253 it became confusing what to do with the sides of the screen - 527 00:35:52,300 --> 00:35:53,733 how much of it to use 528 00:35:54,780 --> 00:35:58,170 And as you see more and more use of Panavision and Cinemascope 529 00:35:58,220 --> 00:35:59,938 in the late '50s and early '60s, 530 00:35:59,980 --> 00:36:01,618 you start to feel the breadth, 531 00:36:01,660 --> 00:36:04,049 the width of the frame being exploited 532 00:36:04,100 --> 00:36:06,409 in a very exciting way 533 00:36:06,460 --> 00:36:09,736 So, really, when you get to films like Lawrence of Arabia, 534 00:36:09,780 --> 00:36:13,170 you have the same kind of excitement and dynamic energy 535 00:36:13,220 --> 00:36:15,176 inside this very wide frame, 536 00:36:15,220 --> 00:36:18,496 that you had in the more square screen of the '40s 537 00:36:28,580 --> 00:36:32,209 A lot of my generation had been very impressed with films from Europe 538 00:36:32,260 --> 00:36:34,330 We'd had an opportunity to see these 539 00:36:34,380 --> 00:36:39,249 And our pioneers, Haskell Wexler and Conrad Hall and so on, 540 00:36:39,300 --> 00:36:42,770 who were giving us examples of reacting to the European style 541 00:36:42,820 --> 00:36:46,051 and later on, when you got Vilmos Zsigmond and Laszlo Kovacs 542 00:36:46,100 --> 00:36:50,696 and people that were coming from the European tradition and shooting films here, 543 00:36:50,740 --> 00:36:53,129 we got an appreciation of a style 544 00:36:53,180 --> 00:36:57,537 that was so different from that practised in the studios 545 00:36:57,580 --> 00:37:01,095 I think the films of the French New Wave really influenced me the most 546 00:37:01,140 --> 00:37:04,894 They captured a sense of the life, which was really wonderful, 547 00:37:04,940 --> 00:37:08,216 by loosening up the camera and moving with it 548 00:37:08,260 --> 00:37:09,773 They would not think anything 549 00:37:09,820 --> 00:37:12,493 about picking up the camera and running with it 550 00:37:12,540 --> 00:37:14,337 It had almost a documentary feel... 551 00:37:15,340 --> 00:37:19,891 ...and so that sort of quality about it would draw you into the film 552 00:37:19,940 --> 00:37:21,896 in a way that, I think, 553 00:37:21,940 --> 00:37:24,170 a more static camera would not 554 00:37:24,220 --> 00:37:25,892 Which is not to say it's new, 555 00:37:25,940 --> 00:37:29,899 because you go back and you look at Napoleon that Abel Gance made in 1926, 556 00:37:29,940 --> 00:37:33,615 and it has every new idea you can conceive of, 557 00:37:33,660 --> 00:37:35,298 even today, 558 00:37:35,340 --> 00:37:37,979 with steadicams and everything else 559 00:37:38,020 --> 00:37:41,092 He was swinging cameras from ropes 560 00:37:42,140 --> 00:37:44,256 and inventing dollies and cranes 561 00:37:44,300 --> 00:37:47,337 and doing all sorts of special effects in the camera 562 00:37:47,380 --> 00:37:52,135 Cinematographers start studying new things in old things 563 00:37:52,180 --> 00:37:53,818 to sort of invent a new way 564 00:37:55,620 --> 00:37:57,531 I think that there was an evolution 565 00:37:57,580 --> 00:38:02,654 and I think if a lot of these guys had been younger, 566 00:38:02,700 --> 00:38:06,693 that they would have probably shown us a lot of very interesting stuff 567 00:38:06,740 --> 00:38:08,378 I'll give a very good example 568 00:38:08,420 --> 00:38:11,298 of what you're calling the "new style" in the '60s 569 00:38:11,340 --> 00:38:12,978 It's Robert Surtees 570 00:38:14,020 --> 00:38:15,692 I mean, he did... 571 00:38:15,740 --> 00:38:17,856 What's the wedding picture with... 572 00:38:17,900 --> 00:38:19,697 with Dustin Hoffman? 573 00:38:19,740 --> 00:38:21,731 - Elaine! - (Glass rattles) 574 00:38:22,860 --> 00:38:24,532 The Graduate 575 00:38:24,580 --> 00:38:26,696 I remember reading all these reviews 576 00:38:26,740 --> 00:38:29,971 They're going, "Fresh, innovative, exciting cinematography... 577 00:38:30,020 --> 00:38:32,090 ...Blah, blah, blah!" 578 00:38:32,140 --> 00:38:34,256 Photographed by a 65-year-old man! 579 00:38:34,300 --> 00:38:36,609 Because you have new tools, 580 00:38:37,660 --> 00:38:41,096 the kind of person who is a cinematographer 581 00:38:41,140 --> 00:38:42,778 is always pushing 582 00:38:42,820 --> 00:38:45,732 You always want to explore, to get yourself into trouble 583 00:38:45,780 --> 00:38:47,850 and see how well you can fight your way out 584 00:38:55,020 --> 00:38:59,252 I don't think that each cinematographer can work with each director 585 00:38:59,300 --> 00:39:02,417 There is a kind of selection you do in where you're going 586 00:39:02,460 --> 00:39:05,133 There is a kind of journey that you are doing by yourself 587 00:39:06,020 --> 00:39:11,048 You suddenly discover that on the same direction you can meet other people 588 00:39:11,100 --> 00:39:14,809 You can meet friends. They can do this journey 589 00:39:14,860 --> 00:39:16,930 You can meet people that can be your guide 590 00:39:16,980 --> 00:39:19,210 for a portion of this journey 591 00:39:19,260 --> 00:39:22,650 I think Bernado was one of those, one of the most important 592 00:39:25,020 --> 00:39:27,739 Before we started The Conformist, Bernado called me 593 00:39:28,660 --> 00:39:32,096 We started to talk about The Conformist and he says, "Vittorio, 594 00:39:32,140 --> 00:39:34,096 what we know about that period, 595 00:39:34,140 --> 00:39:38,930 mainly we know that period, the late '30s, through cinema." 596 00:39:38,980 --> 00:39:40,618 So probably we have to use 597 00:39:40,660 --> 00:39:45,415 everything that's been given to cinema up to now, to that period, 598 00:39:45,460 --> 00:39:49,169 and read from our point of view 599 00:39:53,420 --> 00:39:55,376 (She laughs) 600 00:40:02,260 --> 00:40:07,288 We look at that moment at one of the great masters in the American film industry 601 00:40:09,100 --> 00:40:13,059 From Bernardo's point of view, it was Orson Welles 602 00:40:13,100 --> 00:40:14,852 From mine, it was Gregg Toland 603 00:40:26,820 --> 00:40:32,258 Each cinematographer, they did everything before my time 604 00:40:32,300 --> 00:40:34,939 so I am the sum of the whole experience 605 00:40:34,980 --> 00:40:36,652 (Latin rhythms on radio) 606 00:40:39,460 --> 00:40:45,092 JOHN BAILEY: The Conformist is almost a compendium of all of cinema language 607 00:40:45,140 --> 00:40:49,099 It incorporates almost all the design, 608 00:40:49,140 --> 00:40:50,812 photographic, 609 00:40:50,860 --> 00:40:52,691 editorial... 610 00:40:52,740 --> 00:40:54,856 techniques that have been developed 611 00:40:54,900 --> 00:41:00,293 And does so in a very coherent and clear way 612 00:41:02,660 --> 00:41:06,892 The shift of so-called styles and techniques in cinematography, 613 00:41:07,940 --> 00:41:10,249 that happened right around the period of... 614 00:41:10,300 --> 00:41:12,609 Connie Hall, Haskell Wexler, 615 00:41:12,660 --> 00:41:15,254 Vilmos Zsigmond, Laszlo Kovacs, myself, 616 00:41:15,300 --> 00:41:16,938 Gordon Willis, 617 00:41:16,980 --> 00:41:19,938 it came about because of the directors 618 00:41:19,980 --> 00:41:22,619 You started having new directors 619 00:41:22,660 --> 00:41:26,016 who didn't want to work in the studio system 620 00:41:26,060 --> 00:41:28,574 They wanted to go shoot pictures on location 621 00:41:28,620 --> 00:41:30,292 # JIMI HENDRIX: If Six Was Nine 622 00:41:33,700 --> 00:41:38,649 Everything was very exciting and very crazy in those days 623 00:41:38,700 --> 00:41:40,816 because we had to make those films very fast 624 00:41:40,860 --> 00:41:43,328 There was no time for it, there was no money for it 625 00:41:44,380 --> 00:41:47,531 The difference was with Easy Rider, 626 00:41:47,580 --> 00:41:50,572 that we were able to really prepare that production 627 00:41:50,620 --> 00:41:57,378 We took a trip from Los Angeles to New Orleans and scouted a lot of places 628 00:41:58,780 --> 00:42:04,537 And suddenly you're exposed to this incredible, incredible vast country, 629 00:42:04,580 --> 00:42:11,975 which has such a wonderful transition from one area to another, 630 00:42:12,020 --> 00:42:15,376 and the visual sequence was wonderful 631 00:42:15,420 --> 00:42:20,574 And that's how I learned and got to know the country 632 00:42:24,380 --> 00:42:26,018 And that's magical... 633 00:42:27,060 --> 00:42:30,689 ...to really break down the country and all civilisation 634 00:42:30,740 --> 00:42:33,459 to these pictorial elements 635 00:42:33,500 --> 00:42:38,210 We were into images a little differently than the old system 636 00:42:38,260 --> 00:42:40,330 The lighting was a little different 637 00:42:40,380 --> 00:42:42,416 We would try things and specially... 638 00:42:42,460 --> 00:42:44,735 I worked with Connie Hall for five years 639 00:42:44,780 --> 00:42:48,409 I was his camera operator for five years and we did some great things, I think 640 00:42:49,020 --> 00:42:53,650 I feel particularly involved in helping make mistakes acceptable 641 00:42:53,700 --> 00:42:58,057 to studio heads and other people 642 00:42:58,100 --> 00:42:59,897 And the audience even 643 00:42:59,940 --> 00:43:01,612 By using them 644 00:43:01,660 --> 00:43:03,298 By blatantly, 645 00:43:03,340 --> 00:43:06,059 not by mistakes or anything, but by endeavour 646 00:43:07,060 --> 00:43:11,576 If the light shone in the lens, and flared the lens, 647 00:43:11,620 --> 00:43:14,373 that was considered a mistake 648 00:43:14,420 --> 00:43:16,058 Somebody would report that 649 00:43:16,100 --> 00:43:21,015 The operator would report, "The sun hit the lens, it flared the lens. Cut!" 650 00:43:21,060 --> 00:43:22,812 There was never a fear 651 00:43:22,860 --> 00:43:26,819 Conrad would use so little light that you'd barely see anything in a room 652 00:43:26,860 --> 00:43:28,498 But you'd see it 653 00:43:28,540 --> 00:43:30,212 There was nothing safe 654 00:43:30,260 --> 00:43:32,057 Safe was never the word with him 655 00:43:32,100 --> 00:43:36,378 Getting things too dark or not seeing eyes and things like that 656 00:43:36,420 --> 00:43:40,129 CONRAD HALL: Background too hot, windows blown and things like that 657 00:43:40,180 --> 00:43:44,651 that nobody would dare do without getting fired in the slick old days 658 00:43:44,700 --> 00:43:46,611 (Shouting) 659 00:43:48,700 --> 00:43:52,773 WILLIAM FRAKER: The second picture I did with Connie 660 00:43:52,820 --> 00:43:55,129 was a picture called The Professionals 661 00:43:55,180 --> 00:43:57,171 Connie Hall was the cameraman 662 00:43:57,220 --> 00:44:00,690 I was the camera operator 663 00:44:00,740 --> 00:44:04,176 Jordan Cronenweth was the assistant cameraman 664 00:44:04,220 --> 00:44:09,294 And the second camera crew was Charles Rosher Junior, and Robert Byrne 665 00:44:09,340 --> 00:44:13,572 I like the work that we did on that 666 00:44:13,620 --> 00:44:16,293 Unfortunately, there was an awful lot of night 667 00:44:16,340 --> 00:44:22,449 And night is always a conundrum in photography. Day for night, I mean 668 00:44:22,500 --> 00:44:24,491 Connie was so good at this, 669 00:44:24,540 --> 00:44:28,328 that we shot night of them escaping from Raza's compound 670 00:44:30,300 --> 00:44:33,736 And then they jump in a coal cart and take off during the night 671 00:44:33,780 --> 00:44:38,217 And then they make the jump and that was shot at the last part of day 672 00:44:38,260 --> 00:44:39,932 and brought down 673 00:44:39,980 --> 00:44:46,977 Connie was innovative and very daring... but always extremely solid 674 00:44:47,020 --> 00:44:49,375 He's got, I think, exquisite taste 675 00:44:50,380 --> 00:44:55,579 And he can make that balance between black and white, colour, day, night 676 00:44:56,620 --> 00:45:01,136 And he just looks at it and he just has that innate ability to do that 677 00:45:01,180 --> 00:45:02,693 I think it's a gift 678 00:45:07,980 --> 00:45:10,414 (Tyres screech) 679 00:45:15,900 --> 00:45:17,572 You're unlucky, bastard! 680 00:45:18,620 --> 00:45:22,738 HALL: I don't think there was a choice about shooting it in colour or black and white 681 00:45:22,780 --> 00:45:26,295 There were still 112 pictures being made in black and white that year 682 00:45:26,340 --> 00:45:27,978 That was an easy choice 683 00:45:28,020 --> 00:45:30,295 Doing it widescreen was a harder choice 684 00:45:31,340 --> 00:45:33,979 - Hop in, boys. Where are you going? - Come on. Get in 685 00:45:34,020 --> 00:45:39,811 And we felt that it might be a really wonderful proscenium to present this material in 686 00:45:40,820 --> 00:45:42,492 He was in a fever 687 00:45:42,540 --> 00:45:47,216 The scene where Robert Blake is about to be hanged 688 00:45:47,260 --> 00:45:49,137 and he's talking to the chaplain 689 00:45:49,180 --> 00:45:51,455 It was shot on the stage 690 00:45:51,500 --> 00:45:56,415 We had a rain gutter over the top 691 00:45:56,460 --> 00:45:59,611 It was like coming down. And we had a fan off to the side 692 00:45:59,660 --> 00:46:04,415 which wasn't blowing the rain against the window 693 00:46:04,460 --> 00:46:10,933 but was blowing the spray from the rain against the window 694 00:46:10,980 --> 00:46:16,452 The light hitting his face with this phenomenon happening on the windows, 695 00:46:16,500 --> 00:46:22,018 happened to hit his face one time when I was looking 696 00:46:22,060 --> 00:46:27,418 So I went to Richard and I said, "Richard, watch this on his face now." 697 00:46:28,460 --> 00:46:30,098 And we did another rehearsal 698 00:46:30,140 --> 00:46:34,213 And you can see the water running down and it drips around 699 00:46:34,260 --> 00:46:37,172 and he's talking about his father and it's very sad 700 00:46:37,220 --> 00:46:38,858 He's going to be hanged 701 00:46:38,900 --> 00:46:41,255 But he's playing it very straight 702 00:46:42,300 --> 00:46:43,972 Unemotional 703 00:46:44,020 --> 00:46:46,488 And the visuals were crying for him 704 00:46:46,540 --> 00:46:48,212 I hate him 705 00:46:51,100 --> 00:46:52,772 And I love him 706 00:46:54,220 --> 00:46:59,089 I've had so many cinematographers call me and ask me how I did that shot 707 00:46:59,140 --> 00:47:01,017 Well, I didn't conceive it at all 708 00:47:01,060 --> 00:47:03,858 Richard didn't conceive it. Nobody conceived it 709 00:47:03,900 --> 00:47:06,698 It was purely a visual accident 710 00:47:06,740 --> 00:47:10,574 I think I was more afraid that I couldn't do it the Hollywood way 711 00:47:10,620 --> 00:47:14,056 than I was arrogant or convinced 712 00:47:14,100 --> 00:47:18,412 that my way would be a cinematic advance 713 00:47:18,460 --> 00:47:20,132 So I was trying to... 714 00:47:21,380 --> 00:47:23,132 I was trying to wed the two 715 00:47:23,180 --> 00:47:24,852 So, anyway, I married the SOB 716 00:47:24,900 --> 00:47:26,538 I had it all planned out 717 00:47:26,580 --> 00:47:28,616 First he'd take over the History Department 718 00:47:28,660 --> 00:47:31,379 Then when Daddy retired, he 'd take over the whole college 719 00:47:31,420 --> 00:47:33,570 That was the way it was supposed to be 720 00:47:33,620 --> 00:47:35,292 Getting angry, baby, huh? 721 00:47:35,340 --> 00:47:37,058 What I knew was documentaries 722 00:47:37,100 --> 00:47:39,614 What I knew was the simple way 723 00:47:39,660 --> 00:47:42,220 What I knew is hand-holding 724 00:47:42,260 --> 00:47:45,491 What I knew was how to light realistically 725 00:47:45,540 --> 00:47:47,770 Because most of the time in documentaries, 726 00:47:47,820 --> 00:47:49,538 you work with realistic light 727 00:47:50,500 --> 00:47:52,650 The atmosphere was really different 728 00:47:52,700 --> 00:47:54,930 And I was considered a kid 729 00:47:54,980 --> 00:47:59,178 although I was in my 30s, I guess 730 00:47:59,220 --> 00:48:01,097 No, sir, this is not normal at all 731 00:48:01,140 --> 00:48:03,813 This is the truth. This really happened 732 00:48:03,860 --> 00:48:09,412 I did help somewhat in my knowledge of film cutting 733 00:48:09,460 --> 00:48:15,456 I did help somewhat in my knowledge of how a camera could move 734 00:48:15,500 --> 00:48:19,413 And that also came from my documentary background 735 00:48:19,460 --> 00:48:22,338 I read in Richard Burton's autobiography 736 00:48:22,380 --> 00:48:26,259 that he was against me being the cameraman on Virginia Woolf 737 00:48:26,300 --> 00:48:32,330 because he was afraid that with my gutsy, newsreel-type background 738 00:48:32,380 --> 00:48:36,498 that I would show the pockmarks on his face and would be unkind to him 739 00:48:36,540 --> 00:48:38,019 And that... 740 00:48:38,060 --> 00:48:44,056 Elizabeth took my side and ultimately he was pleased with the results 741 00:48:45,100 --> 00:48:49,059 # Who's afraid of Virginia Woolf? Virginia Woolf? Virginia Woolf? 742 00:48:50,300 --> 00:48:54,339 Some scenes came back when we were shooting in New England, 743 00:48:54,380 --> 00:48:58,612 which somebody at the lab felt was too dark, 744 00:48:58,660 --> 00:49:00,730 and there was talk of firing me 745 00:49:00,780 --> 00:49:04,056 A lot of this I found out later, fortunately 746 00:49:04,100 --> 00:49:05,818 Then I told them I planned that 747 00:49:06,860 --> 00:49:10,136 I wanted degrees of darkness and degrees of fill light, 748 00:49:10,180 --> 00:49:12,489 so that when the early morning light came, 749 00:49:12,540 --> 00:49:16,010 we would have some subliminal sense of a change in time 750 00:49:16,060 --> 00:49:21,259 But there was a lot of heat on that film 751 00:49:26,460 --> 00:49:30,339 I do not think that movies should be made because of the dialogue 752 00:49:30,380 --> 00:49:32,291 I think it should have a good story 753 00:49:32,340 --> 00:49:35,650 The important thing has to be how it is told visually 754 00:49:35,700 --> 00:49:38,419 And dialogue should be like music in a film 755 00:49:42,660 --> 00:49:44,298 You Joel McCabe? 756 00:49:44,340 --> 00:49:46,012 Yeah 757 00:49:46,060 --> 00:49:48,654 Mrs Miller. I've come to see you 758 00:49:50,340 --> 00:49:56,415 McCabe and Mrs Miller was an excellent example of being a partner with the director 759 00:49:57,460 --> 00:50:00,736 Altman wanted to have a special look for this movie 760 00:50:00,780 --> 00:50:04,455 He didn't really know exactly what he was looking for 761 00:50:05,500 --> 00:50:07,968 And then when he started to talk about it, 762 00:50:08,020 --> 00:50:11,330 he said that he had something in his mind like old pictures, 763 00:50:11,380 --> 00:50:13,894 old, faded colour photographs 764 00:50:13,940 --> 00:50:16,977 I doubt if he knew what he was talking about 765 00:50:17,020 --> 00:50:20,854 And I immediately started to experiment with flashing 766 00:50:20,900 --> 00:50:24,654 And I told him about flashing and how we can desaturate the colours 767 00:50:24,700 --> 00:50:27,260 and how he can achieve the faded look 768 00:50:30,100 --> 00:50:31,738 Flashing is basically... 769 00:50:32,780 --> 00:50:34,691 It's almost like fogging the film 770 00:50:35,740 --> 00:50:38,652 Like putting a layer of fog over the negative 771 00:50:38,700 --> 00:50:42,215 So, what happens is the blacks are not going to be really black 772 00:50:42,260 --> 00:50:44,091 It's going to be a sort of greyish 773 00:50:44,140 --> 00:50:46,131 Because the blacks are not as black, 774 00:50:46,180 --> 00:50:49,013 you see sort of into the shadow areas more 775 00:50:49,060 --> 00:50:52,291 It also has another effect. It desaturates the colours 776 00:50:53,340 --> 00:50:56,730 Tell me, any news from down there? It's been a while since... 777 00:50:56,780 --> 00:50:59,089 How many men are there round here? 778 00:51:00,860 --> 00:51:02,532 This here's an interesting town 779 00:51:02,580 --> 00:51:08,132 I, myself, got a little bit tired of this faded look and I started to tell him 780 00:51:08,180 --> 00:51:13,538 that maybe we should not do the whole picture this way, maybe we should have variation, 781 00:51:13,580 --> 00:51:17,539 and he said, "Absolutely not. We are not going to compromise 782 00:51:17,580 --> 00:51:21,255 I'm behind you, I will defend you against everybody in the world 783 00:51:21,300 --> 00:51:23,609 if they come and complain about this look." 784 00:51:24,500 --> 00:51:28,254 And, of course, the studio complained about the look very much 785 00:51:34,420 --> 00:51:37,412 Motion pictures were breaking away from the Hollywood system 786 00:51:40,380 --> 00:51:43,452 And you had the influence of the East Coast 787 00:51:43,500 --> 00:51:46,298 You had the influence of the foreign markets now 788 00:51:46,340 --> 00:51:48,729 And you had directors like Roman Polanski 789 00:51:56,620 --> 00:51:58,292 What have you done to it? 790 00:51:58,340 --> 00:52:00,979 WILLIAM FRAKER: Roman had a magnificent background - 791 00:52:01,020 --> 00:52:02,976 he went to the Polish Film School - 792 00:52:03,020 --> 00:52:06,330 and he had a magnificent background in photography 793 00:52:06,380 --> 00:52:08,769 He understood photography. He understood images 794 00:52:08,820 --> 00:52:11,254 And also with people 795 00:52:11,300 --> 00:52:13,894 And emotions. He was tied with emotions 796 00:52:13,940 --> 00:52:16,932 I won't let you go to no Doctor Hill nobody ever heard of 797 00:52:16,980 --> 00:52:21,371 The best is what you're gonna have, young lady. Where's your telephone, huh? 798 00:52:21,420 --> 00:52:23,058 It's in the bedroom 799 00:52:23,100 --> 00:52:25,011 There's a shot in Rosemary's Baby 800 00:52:25,060 --> 00:52:27,051 She says, "Where's the telephone?" 801 00:52:27,100 --> 00:52:28,818 And Mia says, "ln the bedroom." 802 00:52:28,860 --> 00:52:31,932 And Ruth says, "Oh, good." And she exits 803 00:52:31,980 --> 00:52:36,451 Roman says, "Billy, give me a POV of Ruth." 804 00:52:36,500 --> 00:52:38,172 I got 'em framed perfectly 805 00:52:38,220 --> 00:52:40,017 You see her on the phone talking 806 00:52:40,060 --> 00:52:41,937 I said, "OK, Roman, we're ready." 807 00:52:41,980 --> 00:52:43,777 He comes over and looks and says, 808 00:52:43,820 --> 00:52:45,731 "No, Billy, no. Move, move, move." 809 00:52:45,780 --> 00:52:47,418 Kindly move 810 00:52:49,460 --> 00:52:56,491 And I looked through and I see just the back of Ruth Gordon seated on the bed 811 00:52:56,540 --> 00:52:58,735 And you can't see her face or see the telephone 812 00:52:58,780 --> 00:53:01,738 I said, "But you can't see her." He says, "Exactly." 813 00:53:01,780 --> 00:53:03,577 I said, "Oh, OK." 814 00:53:03,620 --> 00:53:08,535 So, now, we go to the theatre and 800 people in the theatre all go... 815 00:53:11,620 --> 00:53:13,497 To see around the doorjamb 816 00:53:13,540 --> 00:53:15,178 That's Roman Polanski 817 00:53:22,460 --> 00:53:25,816 New York had a style all its own and I call it a street style 818 00:53:25,860 --> 00:53:27,532 It was something... 819 00:53:27,580 --> 00:53:30,174 Because they didn't have the shops, the labs, 820 00:53:31,220 --> 00:53:33,370 the equipment that we had in Hollywood 821 00:53:33,420 --> 00:53:35,172 And it developed its own styles 822 00:53:35,220 --> 00:53:37,131 They didn't believe in diffusion 823 00:53:37,180 --> 00:53:40,297 They didn't believe in what they would do in Hollywood, 824 00:53:40,340 --> 00:53:42,854 when you have to shoot a major motion picture star 825 00:53:48,220 --> 00:53:51,929 It was a situation in which, for reasons of style and money and time, 826 00:53:51,980 --> 00:53:54,335 they went into the streets and shot in real places 827 00:53:54,380 --> 00:53:57,099 And that probably is the beginning 828 00:53:57,140 --> 00:54:00,735 of what is used in our time, as that sort of New York look 829 00:54:01,980 --> 00:54:05,097 WILLIAM FRAKER: Billy Daniels shot a picture called The Naked City 830 00:54:05,140 --> 00:54:11,534 At that time, there was a bunch of new lights that had come up called fay lights 831 00:54:11,580 --> 00:54:15,209 That's how we lit everything - no arcs or anything else like that - 832 00:54:15,260 --> 00:54:18,013 and he shot the whole picture what I call a New York style 833 00:54:18,060 --> 00:54:21,052 (Gunfire) 834 00:54:23,580 --> 00:54:25,377 Aaargh! 835 00:54:29,620 --> 00:54:32,214 Naked City, he went right into their own back yard 836 00:54:32,260 --> 00:54:35,093 and did exactly what they did, and did it 837 00:54:35,140 --> 00:54:37,529 And then you copy those styles 838 00:54:38,580 --> 00:54:40,218 How do you...? 839 00:54:40,260 --> 00:54:45,618 How do you do better than On the Waterfront? You don't 840 00:54:45,660 --> 00:54:51,417 You believe that you were there. You were part of that cold climate 841 00:54:51,460 --> 00:54:53,178 You were part of the cold world 842 00:54:53,220 --> 00:54:55,051 You were part of that whole thing 843 00:54:55,100 --> 00:54:56,772 It had great blacks in it, too 844 00:54:56,820 --> 00:54:58,776 People don't recognise the blacks 845 00:54:58,820 --> 00:55:02,495 All the exterior stuff and the night stuff had great, rich blacks 846 00:55:02,540 --> 00:55:04,212 Look out for the truck! 847 00:55:24,980 --> 00:55:27,892 When we shot in New York, we had to improvise 848 00:55:27,940 --> 00:55:32,456 Everything was done with something at hand, something you might find in the street, 849 00:55:32,500 --> 00:55:34,218 and the shooting is rough and tough 850 00:55:34,260 --> 00:55:36,296 We moved in the streets all the time 851 00:55:36,340 --> 00:55:40,777 I'm walking here! I'm walking here! Up yours! 852 00:55:40,820 --> 00:55:44,449 Dirty and gritty would be my description of it 853 00:55:44,500 --> 00:55:48,288 And it's evidence... pictures like Midnight Cowboy. 854 00:55:48,340 --> 00:55:52,128 Actually, that ain't a bad way to pick up insurance, you know 855 00:55:53,180 --> 00:55:54,818 (Cheering) 856 00:55:56,660 --> 00:56:01,051 I always say that Dog Day Afternoon was shot with energy 857 00:56:02,420 --> 00:56:07,175 Every scene has energy from every point of view 858 00:56:07,220 --> 00:56:09,176 From the actors 859 00:56:09,220 --> 00:56:12,212 From the camera and its movement 860 00:56:16,220 --> 00:56:17,892 Once we began to shoot, 861 00:56:17,940 --> 00:56:21,489 there was no question, but that it had to have a semi-documentary look 862 00:56:22,980 --> 00:56:24,618 It had to be real 863 00:56:24,660 --> 00:56:27,413 That the audience was to believe that this was... 864 00:56:28,420 --> 00:56:30,854 ...this was not a story 865 00:56:30,900 --> 00:56:33,368 that had happened before that was being filmed 866 00:56:33,420 --> 00:56:35,934 This is a story that's happening right now 867 00:56:35,980 --> 00:56:38,096 And I think we succeeded in doing that 868 00:56:51,820 --> 00:56:53,811 I met Marty 869 00:56:54,820 --> 00:56:57,380 He was interviewing cameramen and we talked 870 00:56:57,420 --> 00:56:59,138 And I had the advantage... 871 00:56:59,180 --> 00:57:02,377 I think it had to be a union film and it had to be in New York, 872 00:57:02,420 --> 00:57:04,854 and it was quite a low-budget movie, Taxi Driver 873 00:57:04,900 --> 00:57:08,893 I had an advantage in that I really had looked at a lot of Godard and European stuff, 874 00:57:08,940 --> 00:57:11,215 so we could begin to talk the same language 875 00:57:11,260 --> 00:57:15,492 And both of us happen to talk very fast, so we could talk the same language rapidly 876 00:57:19,500 --> 00:57:21,297 We shot it really quite economically 877 00:57:21,340 --> 00:57:23,012 We didn't cover... 878 00:57:23,060 --> 00:57:25,733 Marty knew not to cover certain things, 879 00:57:25,780 --> 00:57:29,853 to make a shot which we knew was powerful enough to say everything we wanted to say 880 00:57:29,900 --> 00:57:31,538 Some dolly shot, something 881 00:57:33,220 --> 00:57:36,018 Rather more of it than you think was in the script 882 00:57:36,060 --> 00:57:39,370 Schrader's script was extraordinarily visual when you came to shoot it 883 00:57:39,420 --> 00:57:43,971 There's a lot in there, in Schrader's script, that helps you to figure out what to look at 884 00:57:44,020 --> 00:57:47,330 The big overhead stuff and things at the end 885 00:57:47,380 --> 00:57:50,656 are at least variations on things that were in the script 886 00:57:54,220 --> 00:57:56,529 Several people who, for whatever reason, 887 00:57:56,580 --> 00:58:01,574 had some set of emotions about New York that they wanted to unload, 888 00:58:01,620 --> 00:58:03,292 happened to come together 889 00:58:04,340 --> 00:58:07,138 I think that's the simplest and fairest way to say it 890 00:58:16,700 --> 00:58:18,372 (Persistent car horn) 891 00:58:24,140 --> 00:58:25,778 I got The French Connection 892 00:58:25,820 --> 00:58:29,938 Billy Friedkin was looking for somebody to shoot The French Connection, 893 00:58:29,980 --> 00:58:34,178 and they said what we've seen you do is all high-key, fashiony-type stuff 894 00:58:34,220 --> 00:58:36,450 between commercials and this feature 895 00:58:36,500 --> 00:58:40,413 But this has to be a very gritty, New York, street-type picture 896 00:58:40,460 --> 00:58:42,132 Do you think you can do that? 897 00:58:42,180 --> 00:58:45,809 My answer to 'em was, "Well, I'm a cinematographer 898 00:58:45,860 --> 00:58:48,533 I should be able to do anything you want me to do." 899 00:58:48,580 --> 00:58:50,571 And so I shot The French Connection 900 00:58:50,620 --> 00:58:54,977 and after that came out, I was labelled as a gritty, New York, street photographer 901 00:58:55,020 --> 00:58:57,659 (Tyres squeal) 902 00:58:59,580 --> 00:59:01,252 You're driving a tad rapidly 903 00:59:01,300 --> 00:59:03,370 Don't worry. I'm a very good driver 904 00:59:04,420 --> 00:59:10,893 I don't think starting a career or pursuing a career in Hollywood on the West Coast 905 00:59:10,940 --> 00:59:13,010 would have permitted me to pursue... 906 00:59:14,060 --> 00:59:19,088 ...visual styles that I've pursued over a period of time living on the East Coast 907 00:59:19,140 --> 00:59:20,858 It's just a different... 908 00:59:21,900 --> 00:59:23,538 ...world 909 00:59:23,580 --> 00:59:26,413 It was a different film-making world for a long, long time 910 00:59:26,460 --> 00:59:28,132 You're exceptional in bed, 911 00:59:28,180 --> 00:59:31,377 because you get pleasure in every part ofyour body when I touch it 912 00:59:31,420 --> 00:59:35,208 Like the tip of your nose and if I stroke your teeth or your kneecaps... 913 00:59:35,260 --> 00:59:39,094 I assign the big break in American cinematography to Gordon Willis 914 00:59:39,140 --> 00:59:43,497 In that, I think, modern American cinematography comes out of him very much 915 00:59:43,540 --> 00:59:46,179 I just simply pictured things a different way 916 00:59:48,780 --> 00:59:52,534 And in some cases it caused a ruckus now and then 917 00:59:52,580 --> 00:59:56,812 Because it's like saying, "We can't do that, because that's never been done before." 918 00:59:57,860 --> 01:00:01,296 I never did it in that spirit. I just simply did it because I liked it 919 01:00:01,340 --> 01:00:05,219 I want reliable people, people that aren't going to be carried away 920 01:00:05,260 --> 01:00:06,932 I mean, we're not murderers 921 01:00:06,980 --> 01:00:10,052 His imprint on the film was indelible when Godfather came out 922 01:00:10,100 --> 01:00:14,890 I mean, that was a job of cinematography that everybody couldn't help but notice 923 01:00:17,100 --> 01:00:18,738 Bonasera 924 01:00:18,780 --> 01:00:20,452 Bonasera, 925 01:00:20,500 --> 01:00:24,573 what have I ever done to make you treat me so disrespectfully? 926 01:00:26,060 --> 01:00:29,132 GORDON WILLIS: A lot of things that I do with overhead lighting, 927 01:00:29,180 --> 01:00:31,375 or a lot of things with that form of lighting, 928 01:00:31,420 --> 01:00:36,494 actually came out of a necessity to deal with Marlon Brando in a given kind of make-up 929 01:00:36,540 --> 01:00:41,739 It was an example of designing something to make one person work 930 01:00:41,780 --> 01:00:45,170 and it was extended throughout the rest of the movie 931 01:00:45,220 --> 01:00:49,532 I got a lot of criticism, because they said, "Well, you can't see Brando's eyes." 932 01:00:49,580 --> 01:00:53,016 There were times in some of his scenes 933 01:00:53,060 --> 01:00:57,053 where I deliberately did not want to see his eyes 934 01:00:57,100 --> 01:01:00,979 So that you saw this mysterious human being 935 01:01:01,020 --> 01:01:03,932 thinking about something or about to do something, 936 01:01:03,980 --> 01:01:06,858 but you didn't really know what the hell was going on 937 01:01:06,900 --> 01:01:08,458 Gordon, the Prince of Darkness 938 01:01:08,500 --> 01:01:14,609 I haven't... examined underexposing a lot, because I'm terrified of it 939 01:01:16,380 --> 01:01:19,656 But with people like Gordon who know just how much to do it, 940 01:01:19,700 --> 01:01:21,418 and all that kind of thing, 941 01:01:21,460 --> 01:01:25,009 he has made an art of underexposure 942 01:01:26,580 --> 01:01:28,491 I may have gone too far a couple of times 943 01:01:29,540 --> 01:01:32,896 I think there was a scene between Al and his mother, 944 01:01:34,940 --> 01:01:37,135 who was played by Morgana King in Part II 945 01:01:38,180 --> 01:01:39,818 I did one scene, I went too far 946 01:01:42,100 --> 01:01:45,456 I think Rembrandt went too far a couple of times! 947 01:01:45,500 --> 01:01:47,138 It wasn't... 948 01:01:47,180 --> 01:01:48,818 the fact that it was so dark 949 01:01:48,860 --> 01:01:53,570 It was the fact that the studio said, "How are we gonna show this at the drive-ins?" 950 01:01:53,620 --> 01:01:55,338 That's the old attitude 951 01:01:55,380 --> 01:01:57,052 You gotta put light in there 952 01:01:57,100 --> 01:02:00,615 You gotta see the people, because of the drive-ins 953 01:02:00,660 --> 01:02:04,619 Well, the drive-ins were going out at that time, so that didn't mean much to us 954 01:02:04,660 --> 01:02:06,457 We're going to Jersey? 955 01:02:07,500 --> 01:02:12,893 When I shot Godfather I, my decision to use yellow in the movie... 956 01:02:12,940 --> 01:02:15,454 The movie was very yellow 957 01:02:15,500 --> 01:02:19,334 Yellow-red. It bordered on this kind of brassy feeling 958 01:02:19,380 --> 01:02:23,692 The reasons for that were because I just thought it was right 959 01:02:23,740 --> 01:02:26,652 But yellow broke out in the motion picture business 960 01:02:26,700 --> 01:02:29,612 related to period movies for a long time after that 961 01:02:31,820 --> 01:02:35,051 It's not one thing that you do 962 01:02:35,100 --> 01:02:38,058 from a visual point of view that makes anything work 963 01:02:41,300 --> 01:02:42,813 The art direction has to be right 964 01:02:43,860 --> 01:02:45,532 The wardrobe has to be right 965 01:02:45,580 --> 01:02:47,491 The shot structure has to be right 966 01:02:47,540 --> 01:02:51,499 And the lighting has to accommodate whatever it is you're introducing 967 01:02:51,540 --> 01:02:53,895 related to filtering, et cetera 968 01:02:53,940 --> 01:02:57,330 So, you can't just do one thing 969 01:03:04,820 --> 01:03:07,573 WILLIAM FRAKER: There's no mistaking Gordy Willis' work 970 01:03:08,620 --> 01:03:13,057 The magnificent thing that was done was the fact that he came back to it after... 971 01:03:13,100 --> 01:03:14,613 several years... 972 01:03:14,660 --> 01:03:17,299 and came right in, and you could put the three together 973 01:03:17,340 --> 01:03:21,128 It's almost like, my gosh, they never stopped making the picture 974 01:03:21,180 --> 01:03:23,819 Which is, I think, a tribute 975 01:03:39,820 --> 01:03:44,098 JOHN ALONZO: All cameramen throughout the history of movies have taken risks 976 01:03:45,140 --> 01:03:47,608 My current crop of cameramen probably took more risks 977 01:03:47,660 --> 01:03:51,733 only because we had better toys to play with 978 01:03:51,780 --> 01:03:55,216 We had better lenses. They were sharper and crisper 979 01:03:55,260 --> 01:03:58,013 We could put a camera where nobody had ever put one 980 01:03:59,020 --> 01:04:00,692 Sorry 981 01:04:00,740 --> 01:04:04,938 We shot a scene in Chinatown with a hand-held Pentaflex inside a bathroom 982 01:04:04,980 --> 01:04:06,618 In the old days, prior to that, 983 01:04:06,660 --> 01:04:10,414 it would have been a bathroom on a stage with the walls moving out 984 01:04:10,460 --> 01:04:12,132 and you're stuck 985 01:04:12,180 --> 01:04:17,174 But here, Polanski got a very intimate, spontaneous behaviour from the actors 986 01:04:17,220 --> 01:04:19,939 because the camera was right in there with them 987 01:04:19,980 --> 01:04:21,732 What about it, what? 988 01:04:22,780 --> 01:04:25,453 There's something black in the green part of your eye 989 01:04:26,500 --> 01:04:28,172 Oh, that 990 01:04:28,220 --> 01:04:29,858 It's a... 991 01:04:29,900 --> 01:04:31,572 It's a flaw... 992 01:04:31,620 --> 01:04:33,258 in the iris 993 01:04:33,300 --> 01:04:37,771 That was a risk, a risk lightingwise, to light something like that as if you're saying, 994 01:04:37,820 --> 01:04:41,779 "Here's a major motion picture and I'm lighting it like a documentary." 995 01:04:50,620 --> 01:04:53,373 They'd gotten the idea to do Chinatown in anamorphic 996 01:04:53,420 --> 01:04:55,058 in the 235 aspect ratio 997 01:04:55,100 --> 01:04:56,738 But Roman said to me, 998 01:04:56,780 --> 01:05:01,137 "I want to use modern-day technology to shoot a film about the past, 999 01:05:01,180 --> 01:05:04,297 as it would look like through my twentieth-century window, 1000 01:05:04,340 --> 01:05:06,774 I want to see what it looked like back then." 1001 01:05:07,820 --> 01:05:11,017 It meant that we shot a close-up of Faye Dunaway this size 1002 01:05:11,060 --> 01:05:13,972 The lens was no more than two-and-a-half feet away, 1003 01:05:14,020 --> 01:05:15,692 which was very intimidating 1004 01:05:16,740 --> 01:05:21,609 But Roman used that as a directing technique, to intimidate the character of Evelyn Mulwray 1005 01:05:22,620 --> 01:05:25,532 My talent was to light her as beautifully as possible 1006 01:05:25,580 --> 01:05:28,970 So I walked around a lot of times with a hand-held key-light 1007 01:05:29,020 --> 01:05:33,059 If she moved this way, I'd move the light. Roman loved that sort of thing 1008 01:05:33,100 --> 01:05:37,298 because he came from the Polish school where they had to do things that way 1009 01:05:37,340 --> 01:05:41,049 And forcing me to do a hand-held shot, when I didn't agree with him 1010 01:05:41,100 --> 01:05:44,297 I said, "It's going to be distracting." But he was right 1011 01:05:45,340 --> 01:05:49,049 We would do things like force Jack Nicholson to hit a certain mark, 1012 01:05:49,100 --> 01:05:52,615 and have the camera just behind his ear, and format it that way 1013 01:05:52,660 --> 01:05:54,457 You'd force him to hit that mark 1014 01:05:54,500 --> 01:05:57,776 If he wouldn't hit that mark, we'd do the scene over again 1015 01:05:57,820 --> 01:06:00,573 Because he wanted that voyeuristic kind of look 1016 01:06:00,620 --> 01:06:06,172 His mind was 24 hours a day at 78 rpm, thinking 1017 01:06:06,220 --> 01:06:08,814 Hello, Claude. Where'd you get the midget? 1018 01:06:11,500 --> 01:06:15,209 Not on how to make things complicated, but how to make things better 1019 01:06:20,420 --> 01:06:25,619 When we undertook shooting Jaws, we were sitting on the lot at Universal, 1020 01:06:26,620 --> 01:06:29,532 3,000 miles from where we intended to shoot the picture, 1021 01:06:29,580 --> 01:06:35,052 trying to decide what kind of equipment to take, how we would go about it 1022 01:06:35,100 --> 01:06:37,819 Watch him now! Starboard! Starboard! 1023 01:06:40,140 --> 01:06:43,257 Spielberg said, "I want to nail this down on a tripod - 1024 01:06:43,300 --> 01:06:45,768 I don't want it wandering all over the place." 1025 01:06:46,820 --> 01:06:50,256 I said, "Steven, that is not the way to make a sea picture, 1026 01:06:50,300 --> 01:06:53,417 because people will be throwing up in the aisles if you do that... 1027 01:06:55,300 --> 01:06:57,575 ...so, I think I will try to hand-hold the picture." 1028 01:06:59,180 --> 01:07:02,331 And he couldn't believe that I really intended to do that 1029 01:07:02,380 --> 01:07:04,018 On Jaws, 1030 01:07:04,060 --> 01:07:07,939 somewhere in one of those endless interviews that he gives, Steve says... 1031 01:07:07,980 --> 01:07:09,811 It was a joke we used to have on the set - 1032 01:07:09,860 --> 01:07:13,136 that it was the most expensive hand-held movie ever made 1033 01:07:13,180 --> 01:07:15,535 On the ocean, almost all of it is hand-held, 1034 01:07:15,580 --> 01:07:18,538 because they didn't have steadicams in those days 1035 01:07:25,940 --> 01:07:29,899 It was a great piece, a very fine piece of operating, if you look at it 1036 01:07:29,940 --> 01:07:32,738 If you think it was all hand-held and how we did it 1037 01:07:32,780 --> 01:07:34,452 I'm quite proud of it 1038 01:07:34,500 --> 01:07:37,776 It was like being the MVP or winning the Triple Crown 1039 01:07:37,820 --> 01:07:40,175 Baseball metaphors come easily to operating 1040 01:07:42,780 --> 01:07:47,217 We kept the camera at water level whenever we could 1041 01:07:47,260 --> 01:07:50,332 and it isn't something that you will see immediately, 1042 01:07:50,380 --> 01:07:56,057 but after a while you begin to feel that that shark is maybe just under that water 1043 01:07:56,100 --> 01:08:00,332 And by keeping the camera down close to that water, we built into the picture 1044 01:08:00,380 --> 01:08:05,135 a kind of atmosphere or feeling that we wouldn't have gotten any other way 1045 01:08:05,180 --> 01:08:06,852 (Screaming) 1046 01:08:14,780 --> 01:08:20,730 I noticed that almost in every country, cinematographers come from another country 1047 01:08:23,140 --> 01:08:26,450 There is an attraction to the exoticism 1048 01:08:28,740 --> 01:08:31,732 A foreigner, whether he's from Europe or from any place, 1049 01:08:31,780 --> 01:08:34,658 has a fresh eye to look at another country 1050 01:08:34,700 --> 01:08:40,332 And perhaps he distinguishes, he sees better what's interesting about another country 1051 01:08:40,380 --> 01:08:44,168 I really liked staying with you. You were so much fun. I love you, OK 1052 01:08:44,220 --> 01:08:47,895 I want you to be really good. I don't want you to do anything wrong 1053 01:08:47,940 --> 01:08:52,297 If you do, I'll come back and get you. All right? I love you 1054 01:09:00,100 --> 01:09:03,012 He told me it would be a very visual movie 1055 01:09:03,060 --> 01:09:05,449 He said that. The film will be a visual film 1056 01:09:05,500 --> 01:09:08,458 The story will be told through visuals 1057 01:09:11,940 --> 01:09:15,615 Very few people really want to give that priority to the image 1058 01:09:15,660 --> 01:09:20,814 Usually, directors give the priority to the actors and to the story 1059 01:09:20,860 --> 01:09:23,579 But here the story was told really through images 1060 01:09:24,780 --> 01:09:26,418 Hey! 1061 01:09:28,140 --> 01:09:29,778 In the period movies, 1062 01:09:29,820 --> 01:09:32,015 there was no electricity - 1063 01:09:33,060 --> 01:09:35,449 at least before electricity was invented - 1064 01:09:35,500 --> 01:09:38,253 and in consequence there was less light 1065 01:09:38,300 --> 01:09:40,939 Period movies should have less light 1066 01:09:40,980 --> 01:09:45,576 And I think a period movie, the light has to come from the windows 1067 01:09:45,620 --> 01:09:48,578 That's how people lived 1068 01:09:52,300 --> 01:09:55,337 "Magic hour" is a euphemism, because it's not an hour 1069 01:09:55,380 --> 01:09:58,338 It's about 20 or 25 minutes at the most 1070 01:09:58,380 --> 01:10:00,848 It is the moment when the sun sets 1071 01:10:00,900 --> 01:10:04,051 And after the sun sets, before it is night, 1072 01:10:05,100 --> 01:10:06,738 the skies have light 1073 01:10:06,780 --> 01:10:09,135 But there is no actual sun 1074 01:10:09,180 --> 01:10:13,458 and the light is very, very soft 1075 01:10:14,500 --> 01:10:16,809 and there's something, as you say, magic 1076 01:10:16,860 --> 01:10:18,851 It limited us to 20 useful minutes a day 1077 01:10:19,900 --> 01:10:21,538 But it did pay on the screen 1078 01:10:21,580 --> 01:10:25,334 It gave some kind of magic look to it, a beauty of it, a romanticism 1079 01:10:25,380 --> 01:10:30,010 Something that colour could do much better than black and white 1080 01:10:31,060 --> 01:10:34,530 At the time of Days of Heaven, which was 1976, 1081 01:10:34,580 --> 01:10:36,218 when we shot the movie - 1082 01:10:36,260 --> 01:10:37,932 the film came out in '78 or '79, 1083 01:10:37,980 --> 01:10:39,618 but we shot it in '76 - 1084 01:10:39,660 --> 01:10:42,413 film was not as sensitive as it is today 1085 01:10:42,460 --> 01:10:47,693 Today you can actually shoot with a kerosene lamp with actually kerosene flame 1086 01:10:47,740 --> 01:10:54,179 But at the time, we had to put an electric bulb inside those lights 1087 01:10:54,220 --> 01:10:59,453 But the important thing is that, actually, the light was coming from the lamps 1088 01:10:59,500 --> 01:11:01,934 That was what I think was modern 1089 01:11:01,980 --> 01:11:05,575 Because you see any other movie of the old times 1090 01:11:05,620 --> 01:11:09,499 like, for instance, a marvellous movie like Sunrise, a silent movie, 1091 01:11:09,540 --> 01:11:14,614 and the scene when they are looking for the girl in the lake, supposedly drowned 1092 01:11:14,660 --> 01:11:19,529 And they go with lamps and those lamps, they give no light. They're just props 1093 01:11:19,580 --> 01:11:23,175 They're props and the audience has to believe they give light 1094 01:11:23,220 --> 01:11:25,973 But they were just very weak 1095 01:11:27,980 --> 01:11:34,055 On Days of Heaven, I had the privilege of seeing footage that Nestor shot in the lab 1096 01:11:34,100 --> 01:11:37,649 Because Nestor knew he had to leave to go with Truffaut 1097 01:11:37,700 --> 01:11:41,329 And so, when Terry Malick called me up and said, 1098 01:11:41,380 --> 01:11:45,532 "We want you to come up here and do this picture, Nestor has to go," 1099 01:11:45,580 --> 01:11:48,014 I was dying to go 1100 01:11:49,060 --> 01:11:53,212 I did some hand-held shots with the Pentaflex in Days of Heaven 1101 01:11:54,780 --> 01:12:00,855 The opening of the film in the steel mill, I did... personally hand-held with the Pentaflex 1102 01:12:01,900 --> 01:12:03,538 I used some diffusion 1103 01:12:03,580 --> 01:12:07,175 Nestor didn't use any diffusion on it 1104 01:12:07,220 --> 01:12:08,892 The moment I see a movie that... 1105 01:12:08,940 --> 01:12:12,296 I start seeing a movie that has a fog filter, 1106 01:12:12,340 --> 01:12:15,935 I usually stay ten minutes, then I leave I think that's enough 1107 01:12:15,980 --> 01:12:18,938 I hate that kind of thing, because it's so easy 1108 01:12:18,980 --> 01:12:22,177 I felt very guilty about using the diffusion 1109 01:12:22,220 --> 01:12:24,654 And it wasn't that heavy diffusion, 1110 01:12:24,700 --> 01:12:31,731 but I remember having that feeling of sort of violating a fellow cameraman 1111 01:12:32,780 --> 01:12:37,456 But now Nestor knows I'm on film or tape 1112 01:12:38,460 --> 01:12:39,813 (Bell) 1113 01:12:39,860 --> 01:12:41,532 (Crowd murmur) 1114 01:12:46,260 --> 01:12:47,739 After ten rounds, 1115 01:12:47,780 --> 01:12:51,853 Judge Rossi, eight to two, La Motta 1116 01:12:51,900 --> 01:12:53,253 (Cheering) 1117 01:12:53,300 --> 01:12:56,656 Judge Murphy, seven to three, La Motta 1118 01:12:56,700 --> 01:13:03,333 CHAPMAN: If you look at Raging Bull, I based it very specifically on Life Magazine photographs, 1119 01:13:03,380 --> 01:13:07,373 big still photos of the '40s 1120 01:13:07,420 --> 01:13:11,129 That's what people of my generation and Marty's, 1121 01:13:11,180 --> 01:13:13,614 though he's younger, remember fights as 1122 01:13:13,660 --> 01:13:16,936 They remember them as big flash photos in Life Magazine 1123 01:13:20,260 --> 01:13:22,330 We were really showing off 1124 01:13:22,380 --> 01:13:25,099 We panned 360 this way when he went that way 1125 01:13:25,140 --> 01:13:28,052 We started at 24 frames, and then we went to 48 frames 1126 01:13:28,100 --> 01:13:29,931 and then back to 24 frames 1127 01:13:30,980 --> 01:13:33,096 Jake knocks somebody out in 24 frames, 1128 01:13:33,140 --> 01:13:37,531 and then he walks over to a neutral corner. And 48 frames, all in the same shot 1129 01:13:37,580 --> 01:13:39,218 We made a kind of rule 1130 01:13:39,260 --> 01:13:42,252 that when we were actually fighting, we would try... 1131 01:13:42,300 --> 01:13:44,939 In the actual fights, we'd try to do it 24 frames 1132 01:13:44,980 --> 01:13:46,732 Although we tried to cheat it 1133 01:13:46,780 --> 01:13:50,250 and it got really operatic towards the end with Sugar Ray Robinson 1134 01:13:50,300 --> 01:13:54,213 But, in general, we tried to make the actual fight time be in 24 frames 1135 01:13:54,260 --> 01:13:55,932 And... 1136 01:13:55,980 --> 01:13:58,210 save the overcrank, 1137 01:13:58,260 --> 01:14:01,536 the really overcranked stuff for when he's in the corner, 1138 01:14:01,580 --> 01:14:05,698 or in this case, for when he is not actually fighting, but breathing against the ropes 1139 01:14:05,740 --> 01:14:09,699 When he goes back into the real time of fighting, we go back to 24 1140 01:14:16,180 --> 01:14:17,818 We had about... 1141 01:14:17,860 --> 01:14:19,851 God, I don't know, dozens of fights 1142 01:14:19,900 --> 01:14:22,209 And we had a different style for each one 1143 01:14:22,260 --> 01:14:23,932 And one was all going to be... 1144 01:14:23,980 --> 01:14:25,618 One was all going to be... 1145 01:14:25,660 --> 01:14:27,412 like this and like this 1146 01:14:27,460 --> 01:14:29,178 With a fairly long lens 1147 01:14:29,220 --> 01:14:33,418 One was going to be all following him around. One was going to be steadicam 1148 01:14:34,820 --> 01:14:36,572 He started in the dressing room 1149 01:14:36,620 --> 01:14:39,009 He walks all the way. We lit the whole thing 1150 01:14:39,060 --> 01:14:42,575 And he stands on a big crane and the crane lifts him up in the air 1151 01:14:42,620 --> 01:14:44,770 It was great fun. It was wonderful fun 1152 01:14:44,820 --> 01:14:48,859 It was an example of that thing that Marty can really do like no-one else 1153 01:14:48,900 --> 01:14:52,609 Know what the emotional story-telling shot is really going to be, 1154 01:14:52,660 --> 01:14:55,458 and that you don't need to do anything but this one shot 1155 01:14:55,500 --> 01:14:58,776 And it's so good and so evocative, it's so powerful emotionally 1156 01:14:58,820 --> 01:15:02,733 that it'll get you from A to B without any coverage, without any worry 1157 01:15:19,420 --> 01:15:21,297 (Bell dings) 1158 01:15:21,340 --> 01:15:25,538 ANNOUNCER: For the Middleweight Championship of the World, 15 rounds! 1159 01:15:25,580 --> 01:15:29,289 Photography is a single art 1160 01:15:29,340 --> 01:15:30,978 Like painting 1161 01:15:31,020 --> 01:15:32,692 Like writing. Like music 1162 01:15:32,740 --> 01:15:35,573 Cinematography is a common art 1163 01:15:35,620 --> 01:15:37,292 I think it's... 1164 01:15:37,340 --> 01:15:41,253 It's not an art form that can be expressed by one single person 1165 01:15:42,300 --> 01:15:44,689 So, of course, there is the director, 1166 01:15:44,740 --> 01:15:50,895 which is like the main author of the entire common expression, 1167 01:15:50,940 --> 01:15:55,456 because even if several persons express themself in the same art form, 1168 01:15:55,500 --> 01:15:57,730 everybody can go in different directions 1169 01:15:57,780 --> 01:16:00,089 So, from the writer to the musician, 1170 01:16:00,140 --> 01:16:02,938 to the production design, to the costume design, 1171 01:16:02,980 --> 01:16:05,096 to the cinematographer, to the editor, 1172 01:16:05,140 --> 01:16:06,937 someone should be responsible 1173 01:16:06,980 --> 01:16:10,256 Just go by like you're fighting! Don't look at the camera! 1174 01:16:10,300 --> 01:16:11,938 Just go through! Go through! 1175 01:16:12,940 --> 01:16:17,968 Apocalypse Now was really a closing chapter 1176 01:16:18,020 --> 01:16:19,692 Very specific 1177 01:16:19,740 --> 01:16:21,776 Not only because it was the longest, 1178 01:16:21,820 --> 01:16:23,492 it was the most far away, 1179 01:16:23,540 --> 01:16:25,178 it was the most difficult, 1180 01:16:25,220 --> 01:16:29,099 it was the most expensive, it was the most dangerous movie ever done 1181 01:16:29,140 --> 01:16:31,700 But also it was probably the most emotional one 1182 01:16:34,060 --> 01:16:39,339 Mainly the first section of my light was merely dealing with light 1183 01:16:39,380 --> 01:16:44,898 With all these possibilities the light has to express itself 1184 01:16:46,140 --> 01:16:52,215 To show on screen the incredible source of light, 1185 01:16:52,260 --> 01:16:54,376 the great generator with lamps, 1186 01:16:54,420 --> 01:16:57,139 into the jungle 1187 01:17:00,540 --> 01:17:02,974 Very sharp light, very soft light 1188 01:17:03,020 --> 01:17:05,215 Very warm light, very cold light 1189 01:17:05,260 --> 01:17:07,251 Very artificial, very natural 1190 01:17:07,300 --> 01:17:11,054 Both. All the time, I was working with the opposite 1191 01:17:17,380 --> 01:17:21,134 Francis was shooting Apocalypse Now in the Philippines 1192 01:17:21,180 --> 01:17:22,852 And he called me up 1193 01:17:22,900 --> 01:17:26,290 and he wanted me to come over and photograph the second unit 1194 01:17:26,340 --> 01:17:31,733 Every time I went out, I tried to do it in the spirit of the way that they would do it 1195 01:17:31,780 --> 01:17:34,135 That was always the utmost thing in my mind 1196 01:17:34,180 --> 01:17:38,139 And they were always great. Vittorio would always egg me on 1197 01:17:38,180 --> 01:17:39,852 He was always very cute 1198 01:17:39,900 --> 01:17:42,778 He'd go, "Steve, we're stuck here with all this stuff 1199 01:17:42,820 --> 01:17:45,937 You can go out with this camera and you can get all this great stuff 1200 01:17:45,980 --> 01:17:48,494 Do something wonderful. Give us some ideas." 1201 01:17:48,540 --> 01:17:52,533 He gave me all this encouragement to do whatever I wanted to do 1202 01:17:52,580 --> 01:17:59,816 And yet I felt very responsible that what I did had to mesh seamlessly with what he did 1203 01:18:01,380 --> 01:18:03,052 VITTORIO STORARO: I understood... 1204 01:18:04,100 --> 01:18:08,776 ...how it could be important to travel, to go into another country 1205 01:18:08,820 --> 01:18:10,492 To use another language 1206 01:18:10,540 --> 01:18:12,178 To use another industry 1207 01:18:12,220 --> 01:18:14,336 To interchange energy 1208 01:18:26,740 --> 01:18:28,571 There was one idea came to my mind 1209 01:18:29,580 --> 01:18:34,859 There was a possibility to make an analogy between the life and light 1210 01:18:35,900 --> 01:18:39,939 The journey that Pu Yi was doing into himself 1211 01:18:39,980 --> 01:18:43,336 could be represented with the different stage... 1212 01:18:43,380 --> 01:18:47,055 with the different stage of light. Different colours 1213 01:18:49,740 --> 01:18:53,130 The first time, he was cutting his own vein, 1214 01:18:53,180 --> 01:18:56,172 and you see for the first time red 1215 01:18:56,220 --> 01:18:58,097 Red is the colour of the beginning 1216 01:18:58,140 --> 01:19:00,017 The colour when we're born 1217 01:19:00,060 --> 01:19:01,698 He was borning 1218 01:19:01,740 --> 01:19:03,332 See the blood 1219 01:19:03,380 --> 01:19:06,099 He was, remember, being born as an emperor 1220 01:19:07,900 --> 01:19:13,452 We go into the scene when the people with the torches are arriving to pick up him 1221 01:19:14,500 --> 01:19:16,331 When we see orange in the picture, 1222 01:19:16,380 --> 01:19:19,258 it is the warm colour of the family 1223 01:19:20,300 --> 01:19:22,495 It is the colour of the Forbidden City 1224 01:19:25,540 --> 01:19:32,571 I was using all the lights around the young Pu Yi to get the feeling of family. Ofwarm 1225 01:19:32,620 --> 01:19:35,976 Of maternal embrace 1226 01:19:38,540 --> 01:19:40,212 Yellow... 1227 01:19:40,260 --> 01:19:42,296 is the colour of our identity 1228 01:19:42,340 --> 01:19:44,695 When we come conscious 1229 01:19:44,740 --> 01:19:46,970 Is the colour it represents the emperor 1230 01:19:47,020 --> 01:19:50,695 Is the colour that more leads the light 1231 01:19:50,740 --> 01:19:54,130 That more represents the sun itself 1232 01:19:54,180 --> 01:19:55,852 Hoi! 1233 01:19:55,900 --> 01:19:57,538 Green... 1234 01:19:57,580 --> 01:19:59,298 is knowledge 1235 01:19:59,340 --> 01:20:02,491 We see green the first time only when the tutor is coming 1236 01:20:02,540 --> 01:20:05,100 He brings a green bicycle 1237 01:20:06,300 --> 01:20:08,450 It's the knowledge of something 1238 01:20:08,500 --> 01:20:13,130 Up to that moment, Pu Yi was living in the Forbidden City 1239 01:20:14,180 --> 01:20:16,455 It was kind of a forbidden colour for him 1240 01:20:16,500 --> 01:20:20,652 He didn't know anything about one section of the colour spectrum 1241 01:20:20,700 --> 01:20:22,338 Green, blue, indigo, violet 1242 01:20:22,380 --> 01:20:24,257 He know only red, orange, yellow 1243 01:20:24,300 --> 01:20:26,336 The emperor shouldn't know anything 1244 01:20:26,380 --> 01:20:28,098 Should know only portion of it 1245 01:20:28,140 --> 01:20:29,937 Because knowledge can hurt him 1246 01:20:33,740 --> 01:20:37,415 I export our feeling... 1247 01:20:38,460 --> 01:20:40,052 in his way of seeing 1248 01:20:40,100 --> 01:20:44,935 and I re-import once again all the experience back to him 1249 01:20:44,980 --> 01:20:47,096 Back to Italian cinema 1250 01:20:47,140 --> 01:20:50,689 Back to Last Emperor 1251 01:20:50,740 --> 01:20:54,653 And I understood that at that moment that cinema really has no nationality 1252 01:21:08,740 --> 01:21:12,050 MICHAEL BALLHAUS: There are different ways to work with a director 1253 01:21:14,060 --> 01:21:16,699 I had this wonderful working relationship 1254 01:21:16,740 --> 01:21:22,053 with Marty Scorsese, which, I think, is the most visual director 1255 01:21:22,100 --> 01:21:24,694 of all the directors I've worked with 1256 01:21:31,780 --> 01:21:35,568 When we start a movie, he knows what he wants. It's in his head 1257 01:21:39,740 --> 01:21:42,573 The way Marty works is that he gives you a shot list 1258 01:21:42,620 --> 01:21:47,250 It's basically to determine the rhythm of a scene. What he wants 1259 01:21:47,300 --> 01:21:50,849 He describes the shot. Close-up. Tracking shot 1260 01:21:50,900 --> 01:21:53,972 And when it's getting a little more complicated, shots, 1261 01:21:54,020 --> 01:21:57,296 then sometimes he makes a little drawing, of how he wants it, 1262 01:21:57,340 --> 01:21:59,456 or he has a reference to another movie 1263 01:21:59,500 --> 01:22:03,129 He says, "Why don't you look at this shot in this-and-this movie? 1264 01:22:03,180 --> 01:22:05,455 Something like this we should do here." 1265 01:22:05,500 --> 01:22:07,138 Father, 1266 01:22:07,180 --> 01:22:10,968 why have you forsaken me? 1267 01:22:11,020 --> 01:22:15,252 I remember a shot that Marty hasn't done before 1268 01:22:15,300 --> 01:22:18,212 And he wasn't quite sure if it would work 1269 01:22:18,260 --> 01:22:27,259 There was a shot in Goodfellas, when De Niro and Ray Liotta are sitting in that cafe, 1270 01:22:27,300 --> 01:22:33,455 where he finds out that if he goes to where De Niro tells him to go, 1271 01:22:33,500 --> 01:22:35,138 he will be killed 1272 01:22:35,180 --> 01:22:39,014 That this is the end of their relationship in a way 1273 01:22:39,060 --> 01:22:41,494 MOVIE VOICEOVER: I got there 15 minutes early 1274 01:22:41,540 --> 01:22:43,656 and I saw that Jimmy was already there 1275 01:22:43,700 --> 01:22:46,692 MICHAEL BALLHAUS: And what we did is that... 1276 01:22:47,740 --> 01:22:50,698 We did a tracking-back, zooming-in shot, 1277 01:22:50,740 --> 01:22:53,618 where the frame actually did not change 1278 01:22:53,660 --> 01:22:55,298 It starts on a two-shot, 1279 01:22:55,340 --> 01:22:57,137 and we pulled back and zoomed in, 1280 01:22:57,180 --> 01:22:59,899 but the background changed totally 1281 01:22:59,940 --> 01:23:03,330 And this was something that is quite interesting, 1282 01:23:03,380 --> 01:23:05,052 because it tells you a story 1283 01:23:05,100 --> 01:23:07,534 You just start thinking, "What's going on?" 1284 01:23:07,580 --> 01:23:11,732 Something is changing here, but they still sit there in their booth and talk 1285 01:23:11,780 --> 01:23:14,658 But the world around them changes 1286 01:23:14,700 --> 01:23:20,172 And I think this is something that I really like to do, and then Marty loved it 1287 01:23:20,220 --> 01:23:22,780 It's a matter of bouncing ideas back and forth 1288 01:23:22,820 --> 01:23:26,176 I mean, certainly, you know, it's never easy 1289 01:23:26,220 --> 01:23:27,892 It's never perfect 1290 01:23:27,940 --> 01:23:33,970 There's always disputes about how light or dark it should be 1291 01:23:34,020 --> 01:23:35,533 How tight a close-up should be 1292 01:23:38,740 --> 01:23:42,096 Well, Eraserhead was a film that was in David Lynch's mind 1293 01:23:42,140 --> 01:23:44,495 right from the beginning 1294 01:23:44,540 --> 01:23:51,139 And, I think, my job as the cinematographer became to find ways to extract it and to... 1295 01:23:53,140 --> 01:23:59,170 ...to have him explain how it should look in great detail 1296 01:24:00,220 --> 01:24:01,892 How the camera should move 1297 01:24:01,940 --> 01:24:04,852 What the mood and the feeling of the light should be 1298 01:24:04,900 --> 01:24:08,097 We found that we could say this is a dark corner, 1299 01:24:08,140 --> 01:24:09,778 and it's not just dark, 1300 01:24:09,820 --> 01:24:12,095 it's very, very dark 1301 01:24:12,140 --> 01:24:15,769 And we would talk about how dark was dark 1302 01:24:15,820 --> 01:24:17,492 # BOBBY VINTON: Blue Velvet 1303 01:24:26,620 --> 01:24:32,456 # She wore blue velvet 1304 01:24:34,220 --> 01:24:38,691 I think the advantage of Blue Velvet was that we had a lot of time to think about it 1305 01:24:38,740 --> 01:24:41,049 David had written the script for a studio 1306 01:24:42,100 --> 01:24:43,977 It didn't get picked up to be made 1307 01:24:44,020 --> 01:24:45,658 Nothing happened for a while 1308 01:24:45,700 --> 01:24:47,372 and so I read it and we talked 1309 01:24:47,420 --> 01:24:49,058 And we would talk about... 1310 01:24:49,100 --> 01:24:51,568 what's the small town look like? 1311 01:24:51,620 --> 01:24:53,417 Have you ever seen one like this? 1312 01:24:55,060 --> 01:24:57,858 What do these characters do in this town? 1313 01:24:57,900 --> 01:25:01,813 What's Dorothy's apartment look like? Since we spend so much time in there 1314 01:25:01,860 --> 01:25:03,532 What's the feeling of it? 1315 01:25:03,580 --> 01:25:08,017 Because so many strange things happen in that place 1316 01:25:09,700 --> 01:25:11,850 What's it look like? What colour is it? 1317 01:25:11,900 --> 01:25:15,973 We just could bounce ideas around for a couple of years, which was great 1318 01:25:16,020 --> 01:25:17,658 You don't often have this 1319 01:25:24,580 --> 01:25:26,616 Radio Raheem! 1320 01:25:30,300 --> 01:25:33,258 The first thing that Spike said to me about Do the Right Thing, 1321 01:25:33,300 --> 01:25:36,133 he said, "This film is set on the hottest day of the summer 1322 01:25:36,180 --> 01:25:38,057 How do we make the audience feel heat?" 1323 01:25:39,300 --> 01:25:41,609 Dealing with it in a realistic treatment, 1324 01:25:42,660 --> 01:25:44,457 I don't think would have done it 1325 01:25:45,900 --> 01:25:50,655 We had one block in Brooklyn that was going to be our studio 1326 01:25:50,700 --> 01:25:52,531 And we could control the colour 1327 01:25:52,580 --> 01:25:54,855 We controlled the colour of the costumes 1328 01:25:54,900 --> 01:25:57,573 We renovated some of the houses there 1329 01:25:57,620 --> 01:26:01,533 and determined what colours were going to be there 1330 01:26:03,220 --> 01:26:04,892 It's manufacturing reality, 1331 01:26:04,940 --> 01:26:08,615 heightening the reality, to get the audience to feel a certain way 1332 01:26:08,660 --> 01:26:10,218 Yo, Ahmad! 1333 01:26:11,260 --> 01:26:13,649 I think Do the Right Thing was the first film 1334 01:26:13,700 --> 01:26:18,410 where I really had the luxury of waiting for the light 1335 01:26:18,460 --> 01:26:22,658 A lot of the time I spent planning certain scenes to be shot at certain times of the day 1336 01:26:22,700 --> 01:26:25,817 because the film takes place in one day, 1337 01:26:25,860 --> 01:26:27,532 on one block... 1338 01:26:28,580 --> 01:26:31,299 ...where changes in light are going to be very obvious 1339 01:26:31,340 --> 01:26:34,059 You the man. I'm just visiting 1340 01:26:35,140 --> 01:26:36,858 I think Spike trusts me a lot 1341 01:26:37,900 --> 01:26:39,811 I think the trust has grown 1342 01:26:39,860 --> 01:26:42,215 I think it's really vital to him, 1343 01:26:42,260 --> 01:26:47,334 because he does have to give up the directing reins and get in front of the camera quite a bit 1344 01:26:48,500 --> 01:26:51,936 And when he does that, he relies upon me to be his objective eye 1345 01:26:53,380 --> 01:26:57,373 The director is going to be the author of the performances of the film, 1346 01:26:58,420 --> 01:27:00,058 the story of the film 1347 01:27:00,100 --> 01:27:03,570 The cinematographer is the author of the use of light in the film 1348 01:27:03,620 --> 01:27:06,214 and how that contributes to the story 1349 01:27:12,620 --> 01:27:16,295 CALEB DESCHANEL: Suddenly you're aware of the fact 1350 01:27:16,340 --> 01:27:19,616 that things are not exactly as they seem 1351 01:27:19,660 --> 01:27:22,174 In other words, you create a representation of it 1352 01:27:22,220 --> 01:27:24,131 and lots of times, that representation 1353 01:27:24,180 --> 01:27:26,614 is more emotional than it is real 1354 01:27:27,980 --> 01:27:30,448 Oftentimes, we're asked to imitate others 1355 01:27:30,500 --> 01:27:33,776 and it's always a little bit disconcerting 1356 01:27:33,820 --> 01:27:37,529 to be asked to completely imitate another film 1357 01:27:37,580 --> 01:27:39,616 I think we all learn from other films 1358 01:27:39,660 --> 01:27:43,209 and try and emulate certain DPs who are very good 1359 01:27:44,140 --> 01:27:51,091 But the DPs who really do something different every time are the most amazing 1360 01:27:54,420 --> 01:27:57,253 I think today in motion picture technology 1361 01:27:57,300 --> 01:27:59,973 we're really at a precipice, 1362 01:28:00,020 --> 01:28:05,492 a jumping-off point into an unknown but possibly very exciting future 1363 01:28:05,540 --> 01:28:11,570 In the same way that, the '50s, when Cinemascope and widescreen Cinerama, 1364 01:28:11,620 --> 01:28:13,531 Technirama, all these new formats, 1365 01:28:13,580 --> 01:28:16,617 really shook up the whole way we were looking at films 1366 01:28:16,660 --> 01:28:19,254 We have that opportunity now 1367 01:28:19,300 --> 01:28:22,292 Someone once said that the lighting and the look of a film 1368 01:28:22,340 --> 01:28:26,015 makes the pauses speak as eloquently as the words 1369 01:28:27,580 --> 01:28:33,928 That you have moments in films that happen because of what is there visually 1370 01:28:33,980 --> 01:28:36,699 How someone is lit or not lit 1371 01:28:37,820 --> 01:28:40,254 You put something in an audience's mind visually, 1372 01:28:40,300 --> 01:28:46,011 and they will carry away images as well as the words 1373 01:29:01,512 --> 01:31:20,012 Subtitles by ARAVIND B [by_agentsmith@yahoo.com] 1374 01:31:21,000 --> 01:31:24,105 Best watched using Open Subtitles MKV Player 119022

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