American cinematographer (Jan-Dec 1963)

BEHIND THE CAMERAS Continued from Page 76 GOLDWYN STUDIOS Norbert Brodine, ASC, “The New Loretta Young Show”*. INDEPENDENT Jack Specht, “Born Hunters” (Pandora Pictures; Eastman color; shooting in Texas) with Harv Butler. Ralph White, producerdirector. Alan Stensvold, ASC, “Here’s Las Vegas” (Producers Equity Corp. ; UA release; Pathe color) with personnel of Las Vegas shows. Mitchell Leisen, director. Robert Tobey, ASC, “Tomorrow You Die” (Jos. F. Robertson Prod.) with Peter Breck and Kent Taylor. Herbert L. Strock, director. Murray Deatley, “The Lucifer Rose” (LeCamp Prod.) with Warrene Off and Helen Campus. John Hertelendy, producer-director. Joseph Brun, ASC, “International Show¬ time”*. Sol Necrin, “Dorothy Killgalen Show”* (New York). William Clothier, “McClintock!” (Batjac Prod., UA release; P’Vision & Technicolor) with John Wayne and Maureen O’Hara. Andrew V. McLaglen, director. William Mellor, ASC, “The Greatest Story Ever Told” (Geo. Stevens Prod., UA release; P’Vision & Cinerama in Technicol¬ or) with Max Van Sydow and Charlton Heston. George Stevens, producer-director. Joseph MacDonald, ASC, “Muriel” (Argos Films-Alpha, Paris & Dear Films, Rome, UA release; Eastman color; shooting in France) with Delphine Seyrig and Jean Phierre. Alain Resnais, director. Joseph La Shelle, ASC, “Irma La Douce” (P’Vision & Color; Mirisch-Edward Alperson Presentation) with Jack Lemmon and Shirley MacLaine. Billy Wilder, director. Conrad Hall, “Stoney Burke”* (Daystar). Philip Lathrop, ASC, “The Pink Panther” (Edwards-Mirisch Prod.; UA release; SuperTechirama 70 & Technicolor; shooting in Rome) with David Iven and Peter Sellers. Blake Edwards, director. Joe MacDonald, ASC, “The Mound Build¬ ers (Mirisch Prod.; UA release; P’Vision & DeLuxe color; shooting in Mexico) with ^ ul Brynner and George Chakiris. J. Lee Thompson, director. Robert Krasker, “The Fall of the Roman Empire” (Samuel Bronston Prod.; Ultra P’Vision & Technicolor; shooting in Spain) with Sophia Loren and Stephen Boyd. Anthony Mann, director. KEYWEST STUDIOS Fred West, ASC, (Family Films) Series of Religious pictures. LA BREA STUDIOS Robert Hacer, “Perry Mason”*. M-G-M STUDIOS Wiluam Snyder, ASC, “Cattle King” (Mis¬ souri Prod. Inc. Eastman Color) with Robert Taylor and Joan Caufield. Tay Garnett, di¬ rector. Milton Krasner, ASC, “Moon Walk” (Euterpe Prod.; P’Vision & Metrocolor) with Shirley Jones and Gig Young. George Sidney, director. Harkness Smith, ASC, “Dr. Kildare”*. Dale Deverman, ASC, “The Eleventh Hour”*. Continued on Page 121 mat never seem to lose their touch ... Where professional standards are highest and the value of original negatives is the greatest, Hollywood studios and labs still demand the “Velvet Glove” treatment of the Bell & Howell famous “5692” pedestal splicer. The basic design of this splicer offers the greatest possible assurance of perfect film splicing together with maxi¬ mum safety to your irreplaceable originals. Designed and engineered to increase film cutting and splicing efficiency through speed of operation, the “5692” film splicer assures greater economy and faster, more dependable results. Splicers are available with either negative or positive pilot pins for 35mm film. Combination models are avail¬ able for 16 and 35mm, 35/32mm and 35/70mm films. For complete information write or call J. L. Wassell, Director of Marketing, Professional Equipment. (Area code 312 • OR 3-3300) & Howell PROFESSIONAL EQUIPMENT DIVISION 7100 MeCORMICK ROAD CHICAGO 45. ILLINOIS AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 79