Mark wrote:
> He found documentation (memos,
> budgets, etc) to back up that the
> lighting style [of "Out of the Past"]
> was due to cost-cutting on the sets.
Doherty wrote:
> it was just a way of making films
> economically
It was in one of his essays, I believe, that W.H. Auden gave,
as an example of genius, composer Giacomo Rossini spilling
ink on a portion of his score's manuscript, his noticing that
the ink landed on a good place for a note, and then his
keeping the note in that spot for the final score.
Whether or not the lighting of "Out of the Past" was a result
of economics -- although I, myself, would prefer to speak of
the quite conscious influence of the Val Lewton unit at
R.K.O. and their approach toward atmospherics -- my claim
would be that the important factors are (2) what was done in
the final movie, and (2) the import of those choices in the
film that we view today.
Both director Tourneur and cinematographer Nicholas Musurara
had worked together under Lewton, of course -- "The Cat
People" (1942).
Here, by the way, is a good article on Tourneur:
http://www.filmlinc.com/fcm/7-8-2002/tourneur2.htm
Chris
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