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TO GIVE REQUIRED STABILITY to the outfit, padded shoulder hooks were added.
THE RIG IN ACTION — As actor James Mason flails away at imaginary adver¬ sary with his sword, operator Batcheller photographs the action.
| speak from first-hand knowledge when I main¬ tain that a really free, strong economist (lowbudget) film unit at work provides an experience that goes far beyond what the stage or television has to offer.
Film is a unity of the Seven Arts and about thirteen highly-specialized crafts — a vast fund of creative ability and energy concentrated on the re¬ alization of a particular image originating in the mind of an artist, but brought to dimensional reality through the efforts and talents of many capable and creative people. “The Land We Love” is the result of the combined efforts of such technicians and craftemen. These included Director of Photography Ted McCord, A.S.C., with whom I had worked so rewardingly earlier in the production of “Private Property.” (American Cinematographer, August, 1960, pp. 486.— ED.)
“The Land We Love” takes place in the year 1718 — a surging, dynamic time in our nation’s history when people from many lands who had dared the dangers and hardships of the new world began to loose the shackles of bondage and realize America’s promise of freedom and of soil they could call their own. This era was the well-spring from which flowed what was to become the national character of the United States.
Most of the picture was photographed on loca¬ tion in remote areas of Catalina Island, California, in terrain closely resembling that of Bull Island,
REST PERIOD — Camera operator Batcheller rests on stool be¬ tween takes, as Director of Photography Ted McCord discusses an upcoming take.
off the coast of Carolina, locale of the story. The film tells a story of simple people of simple faith, standing steadfast against forces of evil and vio¬ lence to cling to the land they love.
To effectively translate this story into filmic terms, a number of unusual camera techniques were used and a unique piece of equipment which we called the “’violence camera" was created to photograph close-ups of sword play with unusual dramatic em¬ phasis.
There is a great deal of fighting with swords in this picture and we felt that this action could be given greater impact on the screen if it were filmed
Continued on Page 624
OCTOBER • 1961
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