Business screen magazine (1946)

THE MAKING OF THE BRIDGE AT LATITUDE ZERO Inix)nisi\! The very word h;is a far off rinj; lo it. However, in this era of the jets and super jjts. the Nasi oceanic distances continue to shrink bringing exotic, remote places ever closer. Lying at the underbelly of the vast continent of Asia is the Indonesian archipelago of some three thousand islands stretched out in a chain three thousand miles long. And l>ing across the Hquator like a bridge between continents is the island of Java, the focus of Indonesian life — both spiritual and political. One of the most dramatic Imks between "TTie Spice Islands" — as the Republic of Indonesia was once known — and the modern world is. of course. its airline — Garuda Indonesian Airways. With a fleet of modern DC'-8's and DC-9s built by the McDonnell Douglas Corporation at Long Beach. California, this relatively new airline is bringing people from all corners of the earth to the Repiihlie ol Indonesia for business and tourism To document the fantastic growth of this multi-island republic and its intrinsic beauty, Garuda Indonesian Airways, through its representatives at Long Beach. California, requested the cooperation of the McDonnell Douglas Audio-Visual Center. Ii>cated in .Santa Monica. California, in the making of a film that would reflect the image of present day Indonesia. So it was that this writer, who would direct the film, together with cameraman Walt Tufts arrived at Kemayoran Airport in Djakarta capital city of I ndonesia --with cameras. lights and sound recording equipment to begin prtKluction of a half-hour film thait vsould ultimateiv lake us around the world It was the I'ourth ul July a lime for celebrations back in the United Slates — hut for the crew it was just another day of planned photography. Before sunrise two minibuses loaded with equipment, a crew now numbering six including four Indonesian technicians provided by Garuda— and Sylvie Suradji, who was to become the "star" of our film, drove out of Djakarta into the Javanese countryside. Sylvie Suradji — young, photographable from an\' angle, demure and retiring in the manner of most Indonesian girls of twenty — was the keystone of our film, "The Bridge at Latitude Zero." Sylvie. actually a stewardess trainee, was selected from a number of students at Garuda"s training center in Djakarta to symbolize the new Indonesia. Sensing that through Sylvie we could tell the story of Garuda's efforts to become one of the major airlines of the world during Indonesia's strides forward as an emerging republic, she was selected to become the centerpiece of the film. And a wise choice it was, for it became apparent as shooting progressed that despite the fact that Sylvie had never "acted" prior to this time nor had any knowledge of film making, she was turning in a remarkable performance. At first we had thought directing Sylvie might be difficult due to our limited knowledge of "Bahasa" — the official language of Indonesia — and her sparse English vocabulary. But as scene after scene went into the can — some of which required real acting on her part (including tears and unrestrained joy) all our worries disappeared. She was a trouper, sharing the discomforts of earh calls, long days and difficult liKations. asking only after a take if it had been "baik" go<xl in Bahas.i Technically spe.iking. Iiliii making in Indonesia is not always easy. While shooting exteriors for example, the equatorial sun presents a contrast r.inge problem which must be moili ■.i Walt Tufts, left: Donn Bates checking angle through camera. Photographec on country road in Java. fied using reflectors and 'or supple mental lighting. Since electricity is not normally available in rural areas ant^ reflectors of a smaller size Ibecausej ^y of shipping and packing limitations)! may be used, much care must be taken in calculating exposures. Even in cities where connections to electrical power can be made when shooting interiors^ the photographer must guard against low voltages which produce a les* than desirable Kehin Temperature. Batteries for camera power should be charged only in hotels where the voltage (110 in shaver outlets) is nomi nally close to the posted rating. Careful attention lo maintenance details will usually insure trouble free shooting unless the unexpected happens— which is to be expected. With ten days of shot>ting in and .iround Djakarta now canned and shipped to Santa Monica for process^ ing, we moved on lo new locations Flying out of the capital city in a [K"-9 the crew. Sylvie and Alidin Doena. Director of Marketini; for da /)ii/i/i /. Iliiii\ i\ I'i'iiliii 1 1 ,' Dim :i>f . I ihii ,ind lilist\iiin (i<iiii>iuniiiilii<n\. \/rIhiiimll /)i'//v'"v Cmpitralioii. 106 BUSINESS SCREEN]