submitted by Jan-Henk Kleijn director/cameraman
Email janhenk@xs4all.nl
The harsh Andean light hit the tribunes of the Plaza del Toros in Bogota Colombia. The tribune was filled with extra's and they sat half in the sun, half in the shadow. From time to time they had to move to keep the shadow exactly in the middle, just as the director wanted. `I play with light and shadow, to make it strong, real macho. No fill lights, no screens, no reflectors' the director had said to the agency . They had brought the only female matador in the world from Spain. For a commercial for hygienic towels. A product that would allow a woman in a men's world.
The director/cameraman had bought a new camera, the newest most advanced piece of equipment on the market. An Aäton 16mm. He had traveled to Grenoble France personally to get it. It was loaded with reversible Kodak film. The only material at that time suitable for blow-up to 35mm. The meter setting was 16 ASA with filter.
The director/cameraman would film in the arena himself, protected by two assistants with long capes. It was a novelty he had said to the agency. All hand held, 16mm blow-up. A stark contrast from the usual commercial, 35mm dollies on track. It was to be a new concept, just right for a girl in a men's world. He started to shoot the glittering trousers that molded her strong but shapely legs and he ran around her with the camera against his hip. Then, suddenly a rustling sound came from the camera and grew to a frightening crackling and ended with a high whining sound. Unrepairable damage with the public, the matador and her assistants, the people from the agency all staring at him. It was as if a wave of hot air blew up inside his head and gulfs of sweat poured out the skin between his shoulders. No time to get a new camera. He didn't have another camera with him because of the total trust in his newest technical wonder.
The representative from the agency from New York was filming him with a high quality super 8 mm camera. `Can I borrow the camera from you" the director asked nonchalant and gave the Aäton to his assistant. `I got this fantastic idea, you'll see, the commercial will be even more powerful.' He grabbed the 8mm camera and ran back into the arena. `Let the bull come in' he shouted. He shot the bull, the dancing girl, the sword sinking into the bloodied flesh, the shouting public, all under the harsh glaring Andean sun. The next day he flew to New York and prayed the technicians from the lab to take special care.
A month later he received a letter. `Dear sir', it said, 'we are
very happy with the commercial. Your use of grain, coupled with the
camera movements has made the film an outstanding product. It really
gives the feeling of a girl in a men's world.'