The Cinematographer's Masterclass: Planet of the Apes

 

The Technical Marvel of Planet of the Apes: A Cinematographer's Masterclass

In 1968, the film industry witnessed a groundbreaking achievement with the release of Planet of the Apes, a science fiction epic that pushed the boundaries of special effects, makeup, and cinematography. Directed by Franklin J. Schaffner and photographed by Leon Shamroy, ASC, this film is a testament to the power of collaboration and innovation in filmmaking. In this article, we will delve into the technical aspects of Planet of the Apes, exploring the makeup design, location shooting, and cinematography that brought this iconic film to life.

Makeup Design: A Revolutionary Achievement

I love how they're reading FMOFL or 
Famous Monsters of Filmland 
to the uninitiated. Yes, that's one of the magazines
That yours truly worked for. 

The makeup design for Planet of the Apes was a game-changer in the industry. John Chambers, the creative makeup designer, and his team developed a foam rubber makeup that allowed for full facial mobility and breathing. This innovative approach enabled the actors to wear the makeup for extended periods without discomfort or restriction. The makeup design was so convincing that it earned an Academy Award nomination for Best Makeup.

Chambers' team experimented with various materials, including foam rubber, paint, and adhesive, to create a believable chimpanzee, gorilla, and orangutan makeup. The process was painstaking, with each makeup taking around 14 hours to apply and 1-2 hours to remove. The end result was a stunning transformation that allowed the actors to convey emotions and expressions with ease.

I would like to point out that Chambers makeup in Planet Of The Apes has been used by pseudoscientists and Bigfoot believers as a sort of confirmation bias that the notorious Patterson Gimlin Bigfoot Hoax film (which debuted at around the same time as Planet Of The Apes, probably trying to garner more attention due to the POTA hype at the time) is a real creature.

They tend to associate the two different illusions and use this as a basis to perpetuate a false narrative that Hollywood could not have created such a suit as is featured in the Patterson Gimlin Bigfoot Hoax film. This is not true at all. Those are two completely different styles of illusions for entirely different purposes as I pointed out in my article which effectively debunks the entire Patterson Gimlin Bigfoot hoax by way of the evidence contained in the very film itself. I mean you can clearly see the shoulder pad support in plain view on the money shot for fucksake..as AI Jeannie said "Just as if he is a Baltimore Ravens defensive lineman." No less.

For anyone to postulate that there is any similarity whatsoever between the two means that they're ignorant of the artistry, techniques and purposes of special makeup FX work on rudimentary levels. anyone fooled by the illusion is also unknowledgeable of special makeup FX techniques and you can seek out my article on the subject for further information.

There are some people who suffer from a confirmation bias but their beliefs and assertions are completely false.

Location Shooting: A Cinematographer's Dream

The film's location shooting was a logistical challenge, with the crew traveling to the Arizona-Utah high desert to capture the eerie landscapes and unique rock formations. The location was chosen for its otherworldly appearance, with Shamroy describing it as "a helluva set designer." The crew had to navigate treacherous terrain, extreme temperatures, and limited access to equipment and supplies.

The location shooting was a testament to Shamroy's resourcefulness and adaptability. He relied on hand-held Arriflex cameras to capture the action, often using reflectors and natural light to create a stark, realistic atmosphere. The cinematographer's ability to work with limited resources and challenging conditions resulted in some of the film's most memorable sequences.

Cinematography: A Masterclass in Realism

Shamroy's cinematography is a masterclass in realism, with a focus on simplicity, directness, and attention to detail. He used a 35mm Panavision lens to accentuate the drama and telephoto lenses to create a sense of intimacy and unease. Shamroy's use of light was deliberate and calculated, often relying on natural light to create a sense of realism.

The cinematographer's approach to exposure control was innovative, with him stopping down one full f-stop below the incident light meter reading to prevent overexposure in the high desert. This attention to detail resulted in a film with a consistent and cohesive visual style.

Conclusion

Planet of the Apes is a testament to the power of collaboration and innovation in filmmaking. The makeup design, location shooting, and cinematography all came together to create a film that is both visually stunning and narratively engaging. Shamroy's cinematography is a masterclass in realism, with a focus on simplicity, directness, and attention to detail. The film's technical achievements are a reminder of the importance of pushing boundaries and experimenting with new techniques to create something truly groundbreaking.

As Shamroy himself said, "The cameraman is expected to be a thorough professional, at the very least — and most of them shooting pictures today are... but unless there is a good 'marriage' between the director and the cameraman it's hard to get anything really inspired onto film." The success of Planet of the Apes is a testament to the power of this "marriage" and the resulting creative collaboration that brought this iconic film to life.

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