HARRISON ELLENSHAW INTERVIEW 1 page 3

Ahem: In my opinion, DP Ernie Day BSC had a very rough time on Superman IV. He was also not the most obvious choice for the job either. He doesn't use filters or diffusion and prefers to capture the surroundings with minimal manipulation, and this must have been hard on him considering S4 was to be entirely illusion based. Do you know why Day was involved as opposed to comic book master Robert Paynter BSC? How can you compare your working relationship with Day to other DPs you have worked with like Vittorio Storraro AIC?

Harrison Ellenshaw: Ernie Day, a true gentleman and great cinematographer did, in my opinion, a terrific job on Superman IV. Of course, I am prejudice, considering that I prefer a clean unfiltered look - 'personal taste,' some might say. Superman IV was a very fast shoot, but I don't think Day compromised at all. In fact he was the perfect choice to photograph the film.

There was not the luxury of a long schedule and as I have indicated no reason to match the diffusion of front screen shots since we chose to use blue screen instead, hence the film had a look that might be characterized as very straightforward.

Sometimes efficient DPs such as Ernie Day do not enjoy the reputation of someone like Vittorio Storaro. I have had the pleasure of working with Vittorio on two projects: Captain EO and Dick Tracy. Vittorio certainly sets a 'different table' photographically. Interestingly Dick Tracy is another comic book character, but this film is set in a very different looking world than the comics of Superman.

Ahem: What were your initial thoughts about choosing Milton Keynes for the interior/exterior location work? Had you come onboard before or after the decisions in art direction?

Harrison Ellenshaw: Much of the first three Superman films were shot in Canada doubling as United States cities and farmland. But for Superman IV, it was decided to only shot second unit footage in the US, while shooting all of first unit in the UK. Milton Keynes was the most contemporary looking location available. So, it wasn't a difficult choice to make as stand in for the United Nations plaza. [I just saw the sequence again and it does seem that those redfire hydrants are placed oddly out in the open. Next time I'm in New York I'll check to see if they are really there at the 'real' UN plaza.]

Ahem: In the film, Milton Keynes railway station doubles for the UN. As ludicrous as it sounds, this was no more ambitious than Hitchcocks UN illusion seen in North By NorthWest. What are your opinions and why is there no enhancement made to the set with mattes?

Harrison Ellenshaw: We did shoot a plate for a matte painting, but unfortunately the shot was dropped.

Ahem: How much time did you spend in England?

Harrison Ellenshaw: One year. I lived in Hampstead, a lovely place.

Ahem: Were you involved in the Smallville shooting?

Harrison Ellenshaw: Yes. The fog you see when Clark Kent visits the deserted farm was pure serendipity, we just showed up at the location and it was foggy. I think it adds a nice touch to the sadness he is feeling.

Ahem: What did you second unit direct?

Harrison Ellenshaw: I directed the Russian rocket sequence, the Russian premier announcement for the television in Clark's apartment, the Moscow sequence in the 'fight around the world' between Superman and Nuclearman [dropped from final cut], the United Nations and New York establishing shots as well as a lot of pickups and insert shots. I also directed a few miniature shots, though Richard Conway directed most of them.

Ahem: Godfrey Godar BSC was the 2nd Unit DP, did you choose him based on your Watcher in the Woods collaboration?

Harrison Ellenshaw: We were very fortunate to have Godfrey Godar shoot 2nd unit on Superman IV. He is an excellent cinematographer. It is always critical that a 2nd unit DP is able to match the lighting of the 1st unit DP, as well as take into consideration the special requirements needed when shooting visual effects plates. Godfrey was especially adept at this. I had worked with Godfrey when we did the reshoots for the revised version of Watcher in the Woods, so I was well aware of the high quality of his work.

Ahem: What scenes/FX did he light?

Harrison Ellenshaw: He shot all of the 2nd unit work on the film, which included the sequences that I directed as well as, I believe, the moon sequences which Christopher Reeve directed.

Ahem: Where the background plates shot in Vistavision?

Harrison Ellenshaw: Only a few. Most effects plates were shot 4perf. In spite of the fact Vistavision has the advantage of a much larger [than 4perf] negative, it has a number of disadvantages. Vistavision cameras are not blimped and hence shooting any dialogue requires looping in postproduction.
Also, Vistavision cannot shoot the high-speed photography required when shooting models.

Ahem: Were you involved in the nightclubs scenes filmed in London?

Harrison Ellenshaw: There were very few effects shots planned for the Nuclearman 1 sequence. But I felt that I should still go along on the scouts just in case! Almost all the department heads felt to get a sense of the club, we definitely needed to experience the club at night. After all they are called nightclubs, aren't they?. On this particular evening we knew the owners were very anxious to have us use their venue, they treated us like VIPs, our own private table, sending over the most gorgeous cocktail waitress to serve us. Ah, the glamour of moviemaking! We ended up using the club in the film, too bad the sequence was left on the cutting room floor. I'm sure the owners were disappointed. The cocktail waitress wasn't, she ended up being my assistant at Olsen Lane & White!

TO BE CONTINUED...

<<<BACK TO FIRST PAGE
<<<BACK TO SPECIAL EFFECTS INDEX