Word: zoomed
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Dates: during 1980-1989
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...Malley, for his part, can not only drink and seduce woman, but he can stunt-fly and shoot almost as well as Eve. As the mercenary-who's-really-a-nice-gay-in-the-end, he has a long pedigree in cinema history. If his propellers could only zoom him into hyperspace he could be Han Solo...
...great hates are photographers and the destruction of wildlife. She attributes her sympathy for the latter to her abhorrence of the former. ("I hate photographers. They don't allow us to live... That's why I can understand wild animals being pursued by men with rifles. Zoom lenses are like weapons.") Today, when she is not campaigning for baby seals, she divides her time between her Saint-Tropez villa and a farm just west of Paris...
...only be discerned with some difficulty. The predominant desert landscape mirrors the legendary themes. Miraculously, Schepisi has made every desert shot so fresh and grand and has integrated this environment into the plot, rather than using it as a mere backdrop. Numerous close-up shots of the desert zoom in on the gritty textures of the ground and the animal life. Thus, Schepisi places humans somewhere between the solid ground and the expanses, and similarly between their actions and the vast myths surrounding them...
...above the Nevada desert, practicing its stunts, which have caused gasps at aerial shows for nearly 30 years. At exactly 9:55 a.m. the four Thunderbird pilots went into a "line-abreast loop," a maneuver in which they roar along, wingtip to wingtip, about 100 ft. off the ground, zoom up to 2,500 ft., loop backward into a dive at 400 m.p.h., then pull out when they get back to 100 ft. This time they did not pull out. One jet hit the ground and the other three, locked into their now fatal formation, followed within a tenth...
...devices. The first segment of the film, in prison, moves at a brisk pace--cuts are quick, shot-counter-shot and reverse angle sequences accent confrontational situations as in her appearance before the parole committee. When it comes time to cope with the outside world, the use of rapid zoom makes us actively feel the threat of her new environment. In filming elegant clothing, (objects of Sally's material aspirations), Conrad and Dall deliberately place the camera before the store window. She sees what she wants, but she will never get it. Life is governed by work in the purse...