Issue link: http://digital.copcomm.com/i/618780
dga quarterly 35 SCREENPULLS: (TOP TO BOTTOM) UNIVERSAL STUDIOS HOME ENT. (2); MCA/UNIVERSAL HOME VIDEO Paul Greengrass | The Bourne Ultimatum (2007) >[The rooftop chase in Tangier] required a huge rig that took a long time to set, a couple of weeks, because we had cranes all the way along the build- ings and a Skycam that ran the length of that roof on a gigantic track. We looked for a long time to find a run where you could feel Bourne [Matt Da- mon] is absolutely at top pace. I like to use zooms, which slightly softens out the back and gives you perspective, makes the character feel etched. He's running toward the camera and you feel there's depth between the camera and him, so it makes you feel like you're in the shot. Oliver Stone | Born on the Fourth of July (1989) >The Secret Service [men] are trying to get Ron Kovic [Tom Cruise] out of the convention hall and the veterans have locked their chairs down, and that makes it harder for them to be dragged out. We got a beautiful 35 mm look here, which has crisp, clean colors, and full-out anamorphic. Actual [Republican] convention footage from 1972 is blown up from 16 mm to 35 mm and you can see the big golf ball-sized grain. Let me tell you, it's hard to go from an old 16 mm shot of Nixon at the conven- tion to a big, new 35 mm look. It's illusion created through editing. The sequence works because of the cutting. It's the old suspension of disbelief. Peter Jackson | King Kong (2005) >All of Manhattan is artificial, and all of the Empire State Building is computerized. We had a chair on a pole that Naomi [Watts] could sit in, that would approximate the way her body was draped in Kong's fingers, and around the front of the chair was a blue piece of foam rubber, like a big sausage. We never used a mechanical hand. The clouds are a photograph of a Wellington dawn in New Zealand. I didn't want to give the arrival of the planes away, so they just burst into the background right between their eyelines during this long, slow push in toward Ann and Kong. He's empathizing with another living being for the first time, and the planes are an omi- nous introduction to what's going to happen next.