Subject: Re: TP:FWWM featured in "American Cinematographer" magazine. From: rhaller@oregon.uoregon.edu (Rich Haller) Date: 1992-09-04, 14:16 Newsgroups: alt.tv.twin-peaks In article <3113@tardis.Tymnet.COM>, jms@tardis.Tymnet.COM (Joe Smith) wrote: > > > > My wife says that this month's American Cinematographer magazine (the one > > that hit the news stands 2-Sep) has articles featuring David Lynch and TP. > > Check it out. Yup, and lucky me, our library actually put it out on the shelf. It is an interview of Ron Garcia, the Director of Photography for FWWM (and the pilot). This is basically a trade mag, so it gets pretty technical. If you know anything about lighting and film stock, you will find it particularly fascinating, but the rest of us will find it of interest as well. Some nice pictures, too, both color and B&W. Here are some tidbits of particular interest. 'Garcia himself is unsure of Lynch's true motive [in deciding to make FWWM], but has his theories. "By listening to David talk to other people, I began to piece it all together," he says. "There was a book, The Secret Diary of Laura Palmer [written by Lynch's daughter], and the people who weere really following David Lynches ongoing story of Twin Peaks were still out there [us!]. I think he decoded tp reign in the fanstastic elements a bit more for the film, which tells the story of Laura Palmer's last seven days. The plot of the film dovetails perfectly into the pilot; David was adamant about the details of the script and how they merged with the series."' The backwards stuff is actually shot with the camera running backwards and posed some tricky technical problems when they shot the convenience store scenes due to lighting units (Unilux) that drive the cameras. No one had ever used them with cameras in reverse before. '"We got a bit more unbalanced in the design of the film, using high and low angles. The high-angled shots reflect an angelic presence that continues throughout the film, with an unseen angel looking down on the evil events below."' '"The shot [of the boy inside the picture] originally ended with the boy gesturing toward the corner of the room, where a ring of fire appeared," saya Garcia. "David was going to use an optical, but he just didn't like the way the ring of fire was coming out; he felt no one would believe it, and substituted a dissolve instead." He also comments that the convenience store room was originally designed to have the ring of fire as in the script. -Rich Haller
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