We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
EN ROUTE TO THE MOON, astronaut Talbot checks in with satellite control center to report some strange goings-on in “Moon Pilot,” pho¬ tographed for Walt Disney by William Snyder, ASC.
PILOT"
...wacky, topical Walt Disney comedy.
flight-time, the officer sneaks out of the harricaded hotel room for a rendezvous in the park with the girl. The authorities, certain that he has been lured away by a foreign spy, set up a dragnet and engage in a chase through Chinatown, Fisherman’s Wharf and other picturesque sections of San Francisco. He is finally corraled and stuffed into the space capsule which is launched moonward with no fur¬ ther ado. However, he is no sooner space-borne when the girl materializes in the cabin of the space ship and invites him to her home planet for their honey¬ moon. When last seen he is happily going AWOL on an interplanetary scale, while the general in charge of the ground operation shouts himself hoarse on the space radio.
The Photographic Approach
Cinematographer Snyder is so successful in lend¬ ing an air of visual reality to these improbable goings-on that the film, up until the tim.e the gags begin to fly, has the authentic feel of a serious tech¬ nological report such as the National Aeronautics and Space Administration might sponsor. The il¬ lusion is heightened by the use of striking Air Force footage of actual rocket launchings ])rinted in to the television scopes in the control room.
In commenting on his photographic approach to a feature like “Moon Pilot,” Snyder explains: “Every cameraman likes to go dramatic with an¬ gles and lighting for visual mood. I’m just like the rest in that respect. But in shooting a comedy you can only go so far — and it’s important to know where to stop. I don’t mean that comedy has to
Continued On Page 118
THE MITCHELL CAMERA, mounted on a crab dolly, is lined up for an TWO "BRUTES” SUPPLY booster light for shooting this scene on a San
important shot of Tom Tryon and French actress Dany Saval for “Moon Francisco street for "Moon Pilot,” photographed on Eastman Color
Pilot.” Location is Coit Tower promenade, San Francisco. negative by William Snyder, ASC (left center, in white coat).
AMERICAN CINEMATOGRAPHER, FEBRUARY, 1962
91