New Jersey Stage 2015 - Issue 10 - Page 31

brilliant opening sequence seen through the eyes of the eight year old killer as he murders his sister. Later in the film Carpenter messes with our heads by fooling us into thinking we’re seeing the killer’s POV only for Myers to walk into the frame. This lack of trust in the camera puts the audience on edge To give it a higher production throughout. value, he took the decision to There’s clever use of color too. shoot the film in Panavision, a The movie’s first half occurs in widescreen format usually reserved for epics and blockbust- daylight with a predominantly green theme making us feel ers. Carpenter uses the wide reasonably safe, and even the frame to create numbing tension, Myers often appearing out color of Curtis’ sweater matches of the empty space at the corner the immaculate lawns of suburof the screen. The Panaglide, an ban Haddonfield. Later however darkness falls and a blue backearly form of Steadicam, was light (later to become a cliche employed as a way of filming movement quickly without hav- in 1980s’ horror) pervades. Tellingly, Curtis swaps her green ing to lay down tracks. It often sweater for a blue one, shedding serves as Myer’s POV, as in the 2015 - ISSUE 10 31