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Martin and I were right there with him, ducking out of light and shadows. But, as Harvey hit the floor, he stayed in character and passed out. I followed, jumping over obstacles, shooting the entire scene handheld. To realize this contrast, we used long dolly shots, slowing down the film's tempo, and encapsulating the character's moment of reflection.Question: When "Mean Streets" was released in 1973, a leading film critic wrote favorably about your visual use of red in the bar. Question: You were the first to use many innovative camera techniques in "Mean Streets".Your techniques have since become commonplace in motion pictures. Inspiration came to me from many European cinematographers at the time.How do you feel about other cinematographers copying techniques you developed in the early 1970s? I funneled the inspiration into a collaborative brainstorm with Martin. Martin's vision and belief in me as an artist gave me the freedom to dare.
The characters, all Italian-Americans living in a neighborhood strangled by tradition and Catholicism, congregate at the bar.
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This process was just before the introduction of Steadicam in mid 1970's. In scenes and locations that represented a more established lifestyle, I used dollies or a still camera to contrast the gritty movement with slow and steady camera movements.
Steadicam captures a similar visual effect--not as frenetic though. For example, there are scenes in a Church where the goal was to show beauty and stability in contrast to the inner conflicts and chaos of one of the main characters.
Its greatness lays in its leanness, with nary a word, a move, a gesture that's nonessential. Kent Wakeford: My vision ran with Martin's, to create a mean, dirty visual look. Kent Wakeford: Handholding the camera throughout most of the film created an unpolished, gritty feel of life on the streets of New York.