By Dennis Schæfer, Larry Salvato, John Bailey
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Extra info for Masters of Light: Conversations with Contemporary Cinematographers
I admire very much Gordon Willis, of course; he's a great artist. I admire Chapman (Michael), a very good disciple of Willis. Here on the West Coast, there's Haskell Wexler, who worked a bit on Days ofHeaven after I left because I had committed to do a film with Truffaut. Since I was committed to it before, it was Haskell who shot about two weeks of filming after I left. It worked out fabulously. Then of course, the Hungarians are very good too; Laszlo Kovaks and Vilmos Zsigmond are really fantastic.
So we just had to be as invisible as we could. We knew what we were shooting was so exciting that there was no place for aesthetics. NESTOR ALMENDROS 13 We had to do photography that was more intelligent than beautiful, more functional than aesthetic. We did very little lighting because we had a very small kit for lighting and we lit everything ourselves without electricians. We hand-held the camera very often. That time, we were using 16mm; I think that's where it should be used, for that kind of thing and not for fiction.
In other words, if you used a spot-meter, the reflection would literally cover up the actor's face. Set somebody behind a steering wheel and take different exposures and then try it and see what will happen. It's the fastest way to learn a lesson that I learned the hard way. But it's an advantage because again it's expediency. " In the old days they used to. Some cameramen still do; they'll pump up the driver so much, like in Adam-12, or they'll cover the whole thing to get rid of reflections, which is not real.
Masters of Light: Conversations with Contemporary Cinematographers by Dennis Schæfer, Larry Salvato, John Bailey