Cinema Canada (Mar 1980)

escape. She sneaks a glance at the script as Rafal directs her in repeated dry runs. Changes in the shot are attempted, pros and cons pondered until Rafal takes the final decision. “You have to accept everyone’s contribution, mold them together into one viewpoint and put it on the screen,” Zielinski says later. An interview is difficult with this man as he runs around the set, handling the details large and small. He is apologetic, but he has to get the job done. One is impressed by his humility, and his ability to treat everyone on the set in acourteous and affatle manner. Though at times he must raise his voice to instruct the notalways-receptive children, generally he is calm and genial. “The first A.D. does the yelling for me,” he quips. Babe!, co-authored by Zielinski and Edith Rey, describes streetwise 11-yearold orphan (Yasmine Bleeth) who wants to become a disco star. She meets Sammy (Buddy Hackett) who teaches her the ins and outs of ‘show biz’. “It’s a very colourful and rich film,” Zielinski says of the musical, which is structured on the theme of A Star is Born. Largest stock of light control media, reflection, diffusion and color temperature control materials from Rosco. Overnight service to Toronto, Ottawa and Montreal. Call or write for a free catalogue.” ‘ol Kel Jel Jer Xer yer yer Je) Mole-Richardson, Electro Controls, Sylvania, G.E., Osram, Thorn Rosco and Lee. @0c@ecececececece Barbizon Light of New England, Inc. 3, Draper St., Woburn, Mass. 01801 USA (617) 935-3920 8/March 1980 The film, scheduled for completion at the end of December, is aimed at a teenage audience, although a wider appeal is expected. According to assistant producer Gilbert Dinel, the 1.25 million dollar project may give birth to a TV spin off, a disco special using segments and characters from the film. But this is still a ‘maybe’. All but two of the musical numbers have already been shot. “Music is integral to the film,” says Dinel. The final edit is planned for March and there are hopes of taking the film to Cannes. Generally, everyone is happy with Zielinski’s methods. According to sound engineer Richard Nichol, Rafal is understanding. “He takes feedback from the crew.” But not everyone is pleased with the producers. There are complaints that the film suffers from costcutting in the wrong places, that the set is understaffed. “They re trying to save nickels and dimes” observed one crewmember. Co-Producer, Arthur Voronka denies this. It’s a low budget film and some crew members are spoiled by over-crewed, expensive productions. Voronka, whose past films include Loving and Laughing and Fortune in Men’s Eyes feels that he can make a film on a low budget. “’m out to make a commercial, viable film,” he says. Does this mean sacrificing the quality of the film? “I think it can have all the artistic elements and still be commercially viable,” he states. Voronka feels that films aimed at Amer ican audiences and dependent on big budgets and big stars, are going in the wrong direction. “We should do what we can. We have to take advantage of what we have around us.” He concedes that he’s taking a chance by using a director new to the commercial feature industry ‘— although Zielinski did walk off with Best Documentary award for Michel Pellus at this year’s Moscow film festival — and the equally new Peter Czerski, Rafal’s laconic cameraman, the bulk of whose experience has been with Zielinski. oe The shot is in a makeshift boardroom. Rafal draws his camera plan on a piece of scrap-paper and, alternating between English and Polish, discusses the shot with the cameraman. There are the usual problems. It’s daytime in the script but it’s dark outside. The sound man says there’s too much echo, the camera can be heard grinding. Rafal consults with his crew, the solution is found. In a free moment I ask him how he feels about his first feature, and whether he is worried about its success. “All you worry about is keeping on schedule and on budget.” Then, excusing himself, he rushes off to solve another problem on the set. David Arrayet Babe’s Theresa (Yasmine Bleeth) — envious of Sammy’s (Buddy Hackett) jacket?