Moving Images, Understanding Media

304 Moving Images: Making Movies, Understanding Media

of Georges Méliès. Not only was Méliès instrumental in

pioneering techniques such as fades, superimpositions, and

jump cuts, but he also created detailed sets using illusionist

techniques that he adjusted for motion pictures.

Méliès paid attention to depth, composition, and a variety

of elements that are integral to fi lm sets. He troubleshot

issues with black and white photography, as he explained,

“Color sets look terrible on fi lm... So it is necessary to

paint sets as if they were photography studio backgrounds.”

Méliès summed up his approach as “I was born an artist

in my soul, very dexterous with my hands, skillful in most

things, inventive, and an actor by nature. I worked with

both brain and hands.” Many designers use similar terms

to describe their work.

Th e lessons of Méliès were not lost on future fi lmmakers

who continued to create inventive backdrops and sets that

capitalized on the illusions of perspective and camera

placement. Th is could be the case for adventure movies set in

far off lands and outer space or for realistic dramas that use

design to craft a convincing impression of authentic locations.

Certain trends in fi lm style are most recognizable through

their production design, whether the German expressionism

in such fi lms as Th e Cabinet of Dr. Caligari and Nosferatu

or fanciful MGM musicals such as Th e Wizard of Oz and

Th e Pirate. In working to balance the artistic desires of the

creative team and the restraints of the budget, legendary

designer Alexandre Trauner commented, “I cannot betray

either the director or the producer.” He adds, “Th e visual

Figure 8-18 Two cameras set up for

tracking shots for The Sacrifi ce with

director Andrei Tarkovsky on left and

cinematographer Sven Nykvist gesturing

towards the scene at the right. (Courtesy

Lars-Olof Löthwall)

Figure 8-19 Here the

tracking setup becomes a

movie: Sven Nykvist shooting

the dramatic fi nale to The

Sacrifi ce. (Courtesy Lars-Olof

Löthwall)

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