Issue link: https://digital.copcomm.com/i/877064
66 DGA QUARTERLY lot of location photography mixed in with this personal narrative. For the '70s, there was no fi lm I latched onto more explicitly than The French Connection, and [cinematographer] Owen Roizman's remarkable color palette and camera movement. Ed, you talked to Owen. L ACHMAN: He related to me how they did those shots in the streets, because they weren't using track. They used western dol- lies, which are pneumatic tires on a [platform], like a cart. So there was a fl uidity to the image, but also a roughness. Todd very much wanted the feeling of the camera being suspended, so we had to fi g- ure out all these di erent ways of giving the camera a raw feeling, almost in a documentary sense. DGA: That's a far cry from the glamorous, smoothly rendered Technicolor moods you recreated for your fi rst fi lm together, Far From Heaven. How did that movie cement your partnership? L ACHMAN: We both came from, well, Todd from semiotics, and myself from art school, so that was the perfect fi lm to explore how color creates a psychological e ect in a storyline. Todd was so open to exploring that artifi ce, a mannered look at the world the way Sirk did. HAYNES: The Sirkian language and the world of compressed melodrama gave free rein to expressionistic, visual language, which was pretty cool for both of us. I remember we were talk- ing on set about lighting a scene, and the practical motivation for where light is coming from would be, "where is the window?" That's where the light source should be. Then I reminded Ed that we were in a world where none of that matters. It was something I had to teach myself. L ACHMAN: And we were on real locations, and I was trying to make it look like a backlot soap opera. Generally, windows burn out on real locations. So we did everything to make sure that the exteriors looked like they were the same exposure level as the in- teriors. HAYNES: All these rules were liberating. If you're looking for extras, and it's New Haven, Connecticut, in 1957, usually you would look at the real ethnic makeup of people at the time. In this case, it was no, we want everybody to look like they're coming o a backlot in Los Angeles in 1957—these patrician, blonde, tan artifi cial bodies walking the streets of Hartford. We also did not do a digital inter- mediate on Far from Heaven. We did it all optically. It was sort of a holdout at that time. DGA: The fact that you've shot all fi ve of your features together on fi lm, as opposed to digital, is notable. HAYNES: It's been a passion for Ed and me. L ACHMAN: I keep singing the praises of why fi lm is a better me- CONTINUED FROM PAGE 51 STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION Required by 39 U.S.C. 3685) 1. Publication Title: DGA Quarterly. 2. 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Percent Paid or Requested Circulation: 100/100. 16. This Statement of Ownership will be printed in the Fall 2017 issue of this publication. 17. Signature and Title of Editor, Publisher, Business Manager, or Owner: I certify that all information furnished on this form is true and complete. (signed) Steve Chagollan, Editor, DGA Quarterly magazine. You are invited to join Maggie Greenwald, Director-Screenwriter of "Sophie and the Rising Sun" for a special screening followed by Q&A moderated by Di by Director Bette Gordon October 16 at 7:00 pm DGA Theater New York 110 W. 57th St. RSVP: bitly.com/SophieRisingSun