‘Evelyn Jacob
SPOTLIGHT FEATURE

OR MY money, the

best reason for seeing

Impolite, the made-
in-B.C. film and winner of
last year’s New Views
Competition that opens at
the Royal Centre Theatre
Friday, is the rare chance to
see Vancouver play itself.

Rather than cloak our glorious
metropolis in stars and stripes as
Anytown, U.S.A., the film’s Cana-
dian creators have played up
Vancouver for all it’s worth.

The movie is chock-full of pic-
ture-postcard scenes of Lighthouse
Park, downtown Vancouver,
Stantey Park and Chinatown.

West Vancouver cine~
matographer . Reb McLachlan,
who won the 1992 Canadian
Society of Cinematographers
Award for his work on impolite,
has not only showcased the city,
he’s presented her as the film’s
leading lady.

It’s the fourth time McLachlan
has walked away with the award
for his crisp camera work, and
judging by his beaming face he’s
one happy cameraman.

“(feel great winning and very
surprised,’’ says McLachlan, 37,
who was first drawn to film-mak-
ing 25 years ago after seeing
Nicolas Roeg’s Australian adven-
ture, Walkabout.

“Unlike the Genies and the
Academy Awards, the people who
vote on this award are all cam-
eramen who see a! of the films."

It's even more remarkable con-
sidering the size ‘of the film’s
budget.

Unlike their Hol'ywood
counterparts that eat up tens of
millions of dollars in special effects
and marketing, most Canadian
features are lucky if they can
cough up between $2 and $5
million.

[wae |ANY
INDIVIDUAL
PIZZA
$4.25

AD | (

‘

Pasta

ra

her

Friday at Royai Centre Theatre.

And then there's impolite —
shot with a piddly $550,000 luw-
interest government loan.

“You don't win cine-
matography awards on really
low-budget films,” says the U.S.
native and Simon Fraser University
grad, who took first prize in the
1977 B.C. Student Film Festival for
his short film, Old Fashioned Style,
a nostalgic look at the old peanut
butter machine that once inhab-
ited Woodward's top floor.

“The reason {did was because

Rob McLachlan

(director) Don (Hauka) and | had a
very clear idea of what we
wanted. We sat down and talked

about how we wanted every scene

to look. | knew how 1'd light the
interiors and everything beforeha-
nd. You have to when you're
working with only $550,000."
That’s not all. Working on Im-
polite meant McLachlan was up
against a whole battery of
technical challenges that most
Hollywood cinematographers

See Crew page 38

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ROB MCLACHiAN’S crisp camera work is one of the best
reasons to see /mpoliie, the locally filmed feature that opens

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