"An atmosphere of increasing menace and a climax of catastrophy''-filming formula for

'ODD5 1AGAINST TOMORROW'

By JOSEPH BRUN, A . S . C

sets there was literally no room for any lights on the floor or on the catwalks. To overcome this problem, I REHEARSING A DAYLIGHT exterior for "Odds Against Tomorrow" is Director decided to use a mobile microphone boom, temporarily Robert Wise extreme left, addressing inactive, to mount and move my lights in concert with the odor Horry Belofonte in telephone booth. action and panning of the camera. Small spotlights were Meanwhile Cinematographer Joseph Brun, ASC, in leather coat, next to Wise, checks mounted on the mike booms which were extended out his lighting. Note booster light, also into the set. As the camera was panned, electricians moved wind machine used to produce effect of the boom-mounted lights out of camera range but without CINEMATOGRAPHER Brun, with eye to finder, checks a camera setup w4nd in scene. for "Odds Against Tomorrow" from a parallel erected on o location altering their effectiveness as the source of illumination. site. Huge blower is set up near by to produce the required wintry It was an amusing and new kind of show in the studio. winds for the scene. Wide-angle lanses were used exclusivaly for photographing the picture. The most challenging part of the assignment, perhaps, was an important exterior sequence which, in the story, was to start at 4 :30 p.m. in full daylight and continue into full night, with continuous action on the part of the streak of bad weather enabled us to achieve this interesting three principal actors. Director Wise, who rarely uses sequence. As a result audiences will actually witness the dissolves for editorial transitions, wanted continuous photo­ end of a day and the birth of a night in its full progres­ graphic progression over the whole sequence without re­ sion. sorting to dissolves. Extremely careful planning and a long IT WOULD NOT BE possible to write about "Odds Against The possibilities of "photographic contribution'' are Matching from scene to scene obviously would be the Tomorrow" without starting with the man behind it: plentiful with such a subject. However, my constant pre· problem here. Shooting required jumping from one loca· Robert Wise, our director. When I say "our," I am sure occupation was to integrate the photography with Robert tion to another, abandoning a well-commenced sequence I am expressing the thoughts of everyone connected with Wise's powerful way of telling a film story while avoiding or an interior set simply in order to hit the right lumi­ the production, those behind the camera and those in front obvious and facile acrobatics. nosity of a sky or a cloud formation. Filters were used of it. We used wide-angle lenses exclusively throughout the in all possible combinations and I was greatly helped by Robert Wise never speaks merely for the sake of making picture: 30mm, 25mm, 18mm, and quite often the 14mm the variety of film emulsions which are put at the disposal conversation. He always means every word he says, and made by Angenieux of France. Most closeups were shot of cameramen nowadays. We jumped from Background-X, when the word does not come, a simple gesture expressing with the 30mm or 25mm, and occasionally with the 18mm. to Plus-X, or Tri-X, and used a large quantity of infra­ power and determination completes the sentence. This man Foreshortening was used as a dramatic elemen.t. The 14mm red film . The make-up men changed the make-up of the breathes, lives, thinks in film terms; his heart beats at was used for its truly amazing characteristics: not merely principal actors several times a day to accommodate the film speed. There is greatness in his simplicity and deep for its great depth of field and extremely wide angle, but change from panchromatic emulsions to infra-red. knowledge in his modesty. In brief, sheer enjoyment and especially for its presence and participation, and its won­ · The final chase-to-the-death sequence of the picture was inspiration for the director of photography. derful rendition of architectural perspective. We used the shot at night at an oil refinery, on the tops of full gas T hus, when Robert Wise said to me : "I want an atmos­ zoom lens quite often, not as an instrument to obtain tanks. During the cold nights, the men had to take extra­ phere of increasing menace and a climax of catastrophy; magnification or to approximate traveling shots, hut as ordinary precautions to observe the strict safety regula­ we shall ignore the rules and regulations of conventional an editorial medium corresponding to a progressive fast tions as well as to preserve their own lives. The final fight visualization," I knew these words were not just another or slow switch of image format, or as a rythmic element between Robert Ryan and Harry Belafonte was staged on pre-production speech. in combination with sound and dialogue. top of a tank 40-feet high. Illumination could only be Basically, "Odds Against Tomorrow," a Harbel Produc­ One-third of the picture was shot on location in the obtained from the ground below or from far-distant points. tion for United Artists, is the story of a bank robbery streets of a small town (Hudson, New York) by bitter, We had worked for four long nights on this sequence and and of the motives leading three extremely different indi­ cold night. All studio shots as well as interior locations this was to be the last one, as well as the last scene on this viduals (Robert Ryan, Harry Belafonte, Ed Bagley) to included apparent ceilings, thus multiplying the lighting frightening location. Then, right behind the rehearsing associate in such an enterprise. It is also the story of the difficulties. In one interior scene the camera was on the FILMING A DOLLY SHOT on location. Cinematographer Brun's camera actors, the sky began to lighten portending daybreak. It hatred between a Southerner and a Negro, a hatred which studio floor. Sol Midwall, my operative cameraman, had crew uses a solid platform dolly " track" here for moving the camera trained then became a race between men and the rising sun. I had on Belafonte, extreme left. Here may be seen the two fill lights (back of mentioned to the crew that no filters or optical tricks could leads them in an implacable crescendo to pitiful failure to make a 180° vertical pan following Robert Ryan as he mike boom) which provi

478 AMERICAN CINEMATOGRAPHER AUGUST • 1959 479 ;;~:t =------QUESTIONS & ANSWERS WANTED Classified Ads AROUND THE WORLD WITH Continued Fram Preceding Page TRY F&B LAST Continued from Page 472 FOR THE HIGHEST QUOTE ON MAGNASVNC USED MOVIE EQUIPMENT FLORMAN & BABB STUDIO & PRODUCTION EQUIP. 68 W. 45th ST., N, Y. 36, N. Y, Answer: To take a reading of a back­ lighted subject with the Norwood me­ 16MM HOUSTON-K-IA . . developing machines. Milchell - Akeley - 8 & H - Wall - Eyemo For reversal or positive film. Complete with re­ Cameras - Lenses - Equipment ter, the meter should be used in the frigerator units, temp controls, condensors, etc. NATIONAL CINE EQUIPMENT, INC. normal manner-that is, at the posi­ BRANO-NEW, prices reduced. Also all STAIN LESS :Z09 WHt 48th St. New York, N.Y. STEEL model A-118. Neumade film washer, 35mm tion of the subject, and with the heli­ EYEMO cameras, spider turrets, lorgo selection ot Eyemo lenses, 35mm x 1000 film. AIR PHOTO SERVICES AVAILABLE osphere light-collector aimed at the SUPPLY, Dept. C-1, 555 East Tremont Ave., Naw York 57, New York. camera lens. 16MM MOTION PICTURE PRODUCTION Film Ed iting-Sound Recording­ As a back-light illuminates only a PROCESS PROJECTION EQUIPMENT Sync-Sound Effects­ PRECISION REGISTRATION - USED MITCHELL OR lndustriol-Advertising portion of the camera-side of the sub­ CUSTOM BUMPED TYPE ON PORTABLE CASTER Educational-Travel BASES. COMPLETE W ITH SCREENS, INTERLOCKED Sound Stage Available ject, it will illuminate the same per­ DISTRIBUTORS, CABLES, INTERCOMS, LENSES, HAIIY MERRICK STUDIO ETC. FULL INFORMATION. PHOTOS AND PRICES l901 West Anaheim St., Long Beach 13, Calif. centage of the heliosphere, which rep­ ON REQUEST. lilOX 1340, AMERICAN CINEMA­ HEm!ock 6-3291, TOGRAPHER. resents the camera-side of the subject, INTERNATIONAL European Company is looking for and thus the meter will precisely indi­ agent or Americon company, in view of collabora­ FILM l'IOCESSING MACHINEIY tion of production T.V., feature films, documen­ cate the correct exposure.-Don Nor­ Rebuilt trade-Ins. demonst,otors, etc. Black-and­ taries. We have Arriflex - Camerette - Auricon white and color. All makH. low prices. Send for 16/35mm. 2nd staff for matte and outdoor shots. wood, A.S.C. Associate. lists. FILMLINE CORPORAHON. Erna Street, MIi­ Write I.C.O., International, 216, Boulevard ford, Conn. Maurice Lemonnier, Bruxelles 1. Belgium.

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Many other features. Rent-low rates, Bacon, Paris 17. long term. SALE, $2,000.00I BEN SOBIN. 39-44 and an evasive subject. Cuban actress; Wm. Sturz and D. J. White, 49th St., LIC, 4, NY. CENTRAL AFRICAN coverage. GEOFFREY MANGIN, Magnasync executives; Al Stetson, grip; Telefilms, Box 8252, Salisbury, Rhodesia. Two methods have proven feasible, 100 Ft. CINE-KODAK special chamber. brand new dependent on the make of camera and Charles Maguire, production manager, and movement, gate, viewfinder. Serviced by Kodak, ANIMATION produced in Japan from your story­ $195.00. PAUL KUBlTSCHEK, 3025 South 44th, boards. Low Japanese rates. Send us a trial the application. My so-called "direct C. B. Newbery, producer of "Kiss Her Goodbye", Lincoln 6, Nebraska. order. INTERLINGUAL INTERNATIONAL INC. , Harodo Bldg., 2-1 Hirakawocho, Chiyoda-ku, method" is to mount a momentary the feature now in production. 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Harbor, Continued from Page 479 Hollywood, Collf., Phone HO 7-2124 26246 Fairview Avenue, Lomita, Calif. OAvenport 6-4925. ~ WHY SACRIFICE lished previously for this sequence. ------your p roduction and struggle with old or used Write, wire or phone ------equipment when we can trade for cash or new so we would have to come back the equipment. Let us know w hat you have and what To Classified Advertisers you need. following night to wind up the se­ Copy deadline for dossifled advertising is MAGNASVNC MANUFACTURING CO.. LTD. THE CAMERA MART, INC. quence if we didn't get it now. We 1845 Broodwoy.. Pl a za 7-6977.. 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