American cinematographer (Jan-Dec 1948)

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• BEFORE shooting began on “Rope,” director Hitchcock called his production staff and some of the cast together to chart the action and photography. Hitchcock outlined the action on a model of the set while |oe Valentine, A.S.C., diagrammed camera movements on blackboard. • HITCHCOCK’S new technique called for shooting the action continu¬ ously without any breaks for closeups or long shots. Thus it was necessary to call the cast together for round table rehearsals prior to starting each 925 foot take. • THE CAMERA had to move about freely on the set, changing position fre¬ quently, moving in for a closeup shot, then dollying back. This made it neces¬ sary to clear the stage of lights and to mount all illumination units overhead, the same as is done in lighting television sets. • WALLS of the set were hung from overhead tracks so they could be moved to allow camera to follow the actors through narrow doors, then be replaced quickly. Here director of photography Joe Valentine rehearses route camera will take before commencing to shoot scene. 'Rope’ Sets A Precedent Each take averaged 925 feet in length in this newest of Alfred Hitchcock produc¬ tions photographed on a single set. By VIRGINIA YATES NOT UNTIL September will you have an opportunity to see Rope, a picture demonstrating a unique and successful de¬ parture from the familiar technique of filming motion pictures. This Techni¬ color production, photographed by Joe Valentine, A.S.C., is the culmination of years of careful planning by director Al¬ fred Hitchcock. Actually, planning of the picture began back in 1946. The locale was London. And the subject under discussion by Hitchcock and British theatre owner, Sidney L. Bernstein was 'how to make movies.’ "Why not film plays while they are enacted on the stage,” said Mr. Bern¬ stein, "if not for commercial use, at least for research. Think what it would mean if we could sit in a projection room today and see Booth, Salvini and Sarah Bern¬ hardt portraying their most famous stage roles.” "There is one play that would lend it¬ self to such treatment,” said Hitchcock. "It’s Patrick Hamilton’s play Rope’s End’.” "You mean shoot a performance of it right on the stage?” asked Bernstein. "No. Shoot the play as it is enacted on a sound stage. Shoot the action continu¬ ously, stopping only when the film is used up in each reel.” 230 July, 1948 American Cinematographer