Student: Two kinds of backgrounds exist in this film, the process
background you referred to, to simulate the illusion of walking
in the street, and the real background that appeared while they
were in the tram. Do you feel this to be an aesthetic contradiction?
Almendros: No, because whatever serves the story is good. What counts is
not how you do it, but whether you make the audience believe.
I don't think there is contradiction on the screen, but [rather]
a great unity of style. It is the result that counts.
Which of the
two scenes do you find more striking?
Almendros: One always admires what one can't do. I am, I should say, a realistic
director of photography. So when I saw that dreamlike
city scene, I had to back it up in the projector and play it again.
That's how astonished I was. On the other hand, I admire the scene
on the tramway because it was advanced for its time and similar
to
what we do today. I admire both scenes; I'm very eclectic.
What
do you think of the amusement-park scene? It's not a real amusement
park, but it works so well. Would you do that, make something
fake
to get your point across?
Almendros: You always stylize things, whether you do it by building
sets or shooting in natural locations, though sets are expensive
now, and with huge sets today you tend to go to the real thing
- like we did with the amusement-park scene in Sophie's Choice,
for
instance. Now cameras have become very mobile again, and sound
is portable, so in the past 20 years it's [been] easy to go back
to
the locations as Murnau did. It was in the '30s, '40s and '50s
that it wasn't possible; they had to do everything in the studio.
I think
that scene in the amusement park makes Sunrise a true work of
art, in the sense that this scene is constructed and imagined
by the
director entirely. He wanted total creative control, and he got
it.
It seems
that a tremendous amount of the action in this film is directed
toward the camera on diagonals. It seems to be different than the
omniscient view in Hollywood photography. Who was responsible for
that positioning?
Almendros: I'm glad you noticed
those diagonal compositions, because they give the frame dynamics.
Knowing Murnau's
other films, I'd
say Murnau is responsible for it, though I'm sure the cinematographers
helped and cooperated, as usually happens. Karl Struss was one
of
the disciples of Stieglitz - he had been a photographer before
he became a cinematographer. That's probably why some of the
scenes of the city streets look like Stieglitz. But if Rosher and
Struss
were influenced by any other photographers, they would certainly
have been German. Murnau brought with him a partially German
crew. He must have known that Rosher and Struss were the best cinematographers
in Hollywood at the time, and that they would be capable of understanding
what he wanted.
How was the moonlight effect achieved?
Almendros: I'm sure it was an entirely built and painted set. The reflection
of the artificial moon was in real water on
the set.
There was a strong backlight above the actors off frame, but
from the same
direction as the moon.
How do you feel this film affected Hollywood?
Almendros: There was a great influence. Think of John Ford's The Informer.
Street Scene, directed by King Vidor and photographed
by Gregg Toland, also had this influence. The continuous
shooting idea
was certainly influential to Vidor. When you think of 1927
and then 1935, when films really started moving again, that's
less
than 10
years. The influence obviously had not vanished. It was only
for
a moment, with the first years of sound, that the cameras
got to be so cumbersome and they weren't so mobile.
How did
they do the night scenes, with fast film?
Almendros: They were all lit in the studio so they had control, and
it was not a question of lack of light but of contrast.
Also, sometimes
they could have pushed the film; that was also done.
The only defect I see in this film in relationship to films
today is
the night
scene of the search for the drowned body in the river.
The lanterns of
the searchers hardly give any light, and you can see
that
they are just props. You can tell the scene has been
lit artificially,
and
it looks false. Allow me to use my own example to illustrate
this. In Days of Heaven, the lanterns were actually giving
light. Also,
because our film was in color, that allowed us to have
warm color-temperature tones on the screen to give the impression
that the lamps were
burning kerosene. Has the advent of sound made the viewer
more aware of narrative and less aware of the visual aspect?
Almendros: Yes and no. At the beginning of sound, certainly, but not later.
Music, for instance, enhances the image,
and the use
of sound might help the image as well. Dialogue, of course,
makes the
viewer less aware of the visual aspect of film, which
is why I favor films with few words, such as Days of Heaven
and Wild
Child.N
Q&A
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