Commentary Track #6
August 20th, 2004
This post relates to Gilman’s Model: The Fotonovel.
ALAIN: The journey continues. You’ll notice that the lines in this shot exist strictly within Euclidean geometry. Coincidence? Or foreshadowing? When the art director has done his job well, you can never be quite sure he’s done anything at all.
RYAN: While filming this shot, I remember having “Leaving on a Jetplane” running through my head, so I’m shaking my groove thang just a little bit. I’m surprised that they chose this take.
ALAIN: That’s exactly why we chose this take.
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GKarlsen
Holy Smokes!!!
The DOP (Director of Photography), whose bitter public row with director Smithee resulted in his withdrawing his name from the credits, comments on the use of geometry in the film:
DOP: Er, yes, if I remember correctly this is the only time in the film where we see Ward framed in a formal geometric composition where everything is balanced and in harmony.
INTERVIEWER: This was supposed to signify his state of mind.
DOP: Exactly. At this point Ward is still sane. He doesn’t realize what he’s getting into. He still thinks the world is rational and always obeys natural law as he understands it.
INTERVIEWER: That’s going to change by the end of the film.
DOP: Oh yeah. As soon as we get into the house, everything becomes slightly… off. You’ll notice the camera is always tilted slightly and there are no straight lines. The ceilings are either too high or too low, etc.
INTERVIEWER: I’m thinking particularly of the sequence in the attic.
DOP: Right. We called that one “The Last Temptation of Gilman”.
INTERVIEWER: (laughs) What can you tell us about working with Gilman? I understand he had to have a handler on set at all times?
DOP: (lights a cigarette with trembling hands) It. It had a handler. Think his name was Curtis or Curwen.
INTERVIEWER: Right. Not a job I would have wanted.
DOP: That was Alain’s idea. Damn fool. I told him it was a mistake, but he wouldn’t listen. He said the audience can always tell when you’re faking it. You’ve gotta be real. He was obssessed with realism. I thinks that’s what ultimately… (pauses)
INTERVIEWER: Ultimately what?
DOP: (glances around nervously) Uh, look, I’d rather not talk about this anymore, if you don’t mind.
INTERVIEWER: Can you at least tell us what led to your falling out with Smithee?
DOP: No. Look, ask someone else. We all took our names off that thing. Watch the film. It’s all Smithee, Smithee, Smithee. He ended up taking credit for everything. And that’s fine with me. I don’t want those, those… people coming after me.
INTERVEIWER: People? What people?
DOP: That’s it, I’m sorry. (leaves)