Interview with Cinematographer Mike King, of “The Manson Family”
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Q: You’ve done a lot of movies with director Jim VanBebber, including your first feature credit; how did you get started, and how did the two of you meet?
King: I began shooting small movies with my parents Super 8mm camera when I was a pre-teenager. Later, I experimented with model building, stop motion animation, and in camera special effects. That led to my decision to go to film school. I couldn't afford to go to the big ones, so I ended up at
Q: What made you want to work on The Manson Family?
King: After the release of Deadbeat at Dawn we needed something to do. We had this small 16mm production studio we bought and our goal was to keep making low budget films. We were led to believe we had a good chunk of money coming our way from Deadbeat, so making another film was part of the plan. That the film was Charlie's Family an not something else was pretty much spur of the moment inspiration. A
Manson family based story made sense because it would hopefully get attention. We were a few guys in
Q: How did you develop the film's ever-changing, ever-evolving look with VanBebber?
King: The look developed over time in a very organic way, often with budget demands in mind. Jim and I were very aware of the historical look and feel of news footage from the time. We wanted to achieve that look for portions of the film so we used actual VNF (Video News Film) reversal filmstock that is made for direct projection. For the recreation scenes I wanted to use the finest grain negative filmstock I could get (ASA100) that would have the greatest color saturation. We really wanted to push freaky colors and hopefully reflect the era and mindset of the time. For the more modern video interview sequences we shot mostly Betacam SP tapestock to really differentiate that look from the historical news based stuff.
Q: I understand the shoot stretched out over an almost unprecedented 15 years — while VanBebber is still no match for Orson Welles on that count, it must have been tough. You have sole DP credit; so what convinced you to stick with the project for so long?
King: The "shoot" was not 15 years long. If you put all the shooting time together, it probably wouldn't be much over a normal two month schedule. Most of the shooting was done by 1993. The 15 year schedule was all based on lack of funding. Our Manson story and our other projects (Roadkill, The Last Days of John Martin, Doper, My Sweet Satan) got people's attention, but it wasn't always positive. We weren't offering investors, studios, etc. to be part of a family friendly, feel-good movie. Also, I was the sole producer at the time and Jim and I are business partners in this thing so there was never any question of sticking with it. I do admit that at times I was tired of the thing.
Q: Were there ever times you wondered whether or not the movie would ever get finished?
King: I knew the film would eventually get finished. By 1997 we had real offers from some people. However, they demanded cuts, story changes, etc. Jim was strongly against this and I decided to support him. Honestly, I would have compromised and finished the damn thing and moved on. But, I do believe the film is better this way and we really didn't have much to lose by waiting it out.
Q: Over that same 15 year period, what do you consider the most important advance in the art of cinematography? (and) The one that most affected you or your work?
King: The biggest move is towards electronic imaging. I haven't shot a feature on film in almost two years (NOT my choice). However, to me it's not about the tech at all. That has to remain in the background, something that's second nature to you. It's about the story, working with the director to help them achieve their vision, working with the cast and managing your crew. That's something that doesn't change and I always keep that in mind. Don't get me wrong though, I love new toys.
Q: Were you ever squeamish about filming such horrid, grisly, detailed murder scenes? Scenes that were in effect, reenactments of actual events that happened to real people?
King: No. It's a movie. It's really great fun. It's plastic, rubber, syrup, and food coloring. Even children know that. I shot TV news for a year or so after college. That was gruesome. Car wrecks with decapitations, the smell of burnt flesh at fires, etc.
Q: Did you do any research to find out exactly how these murders were carried out, and how the corpses should look?
King: Jim showed me the stuff on record (I had read Helter Skelter long ago), but I really didn't do more than that.
Q: Was there a change in camera movement, say, going from the sleepy, easygoing ranch scenes to the vicious murder sequences?
King: Sure, we ramped it up for the murder scenes. We used a Cinejib (small, dolly based crane) and a Chapman dolly on those scenes when we could afford it. But ultimately a lot of the frenetic pacing in those scenes is due to Jim's editing.
Q: Was the film storyboarded at all?
King: There were often storyboards or small drawings of scenes/sequences (sometimes very funny shit) to help explain how Jim wanted to see things. Storyboards are a great starting point and good for developing discussion. Often you run out of time and end up
throwing them away.
Q: On some of the so-called lost interview footage, there is an awful lot of "damage" on the films. Was this done with CGI?
King: No CGI. The original VNF reversal footage was cut on a flatbed with the workprint. It naturally got scratched/dusted that way. Jim then messed it up some more. Those elements were taken out of the workprint, printed to an internegative stock, and another workprint was struck to piece back in.
Q: What was your nicest surprise, the scene which exceeded your expectations when you saw it on the big screen?
King: I suppose the dog blood acid crucifixion night scene (or whatever it's called). It was a big setup for us and tough to light with the low ASA stock we used and our small crew. We also did a lot of inserts on our small sound stage and Jim did a great job piecing it together seamlessly.
Q: If you could do one scene over again, what would it be?
King: The murder scenes. Originally we wanted to build a detailed set with flyable walls and have a lot of freedom and time to shoot. There was no money for it though and we had to utilize practical locations.
Q: Do you get involved with other areas of post-production, or is all your post production involvement D.P. related only?
King: I have a small commercial production company and I do a lot of editing on a Media 100 system as well as some Final Cut Pro work. I don't consider it my specialty though.
Q: You have a lot of horror movies and crime thrillers on your resume — what is it about these gritty genres that appeals to you?
King: I grew up on these kind of films and I truly enjoy films with a darker edge. But I enjoy working in other genres also. It seems that on the low budget end there are more of these kinds of projects being produced.
Q: What are some of your favorite horror films in terms of cinematography?
King: Too many to name them all.
Q: I see you have quite a few films out since The Manson Family, and you’ve been quite busy. What’s next up for you?
King: No big projects currently. A film I shot for director/producer Sam Turcotte is coming out soon, NO PAIN, NO GAIN, a bodybuilding comedy/drama. I'm keeping busy shooting some short films projects, documentaries and commercial work. Waiting for the next big thing.
Interview by Staci Layne Wilson
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Don't forget to read our review of "The Manson Family" and our interview with two of the film's actresses.