"Vermeer" or "Magic Müller"

By Jacqueline Gamard

17 septembre 2018 - Modifié le 5/12 La Lettre AFC n°289

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Although it was a bit cliché, he was known as Vermeer because he is Dutch or as Magic Müller because his lighting had the magic of the Master of Delft.

I had the great honour of participating in two film with him. Irad Azimi’s Islands, in 1983 and Wim Wenders’ Until the End of the World, in 1990. We were travelling around the world, we were in San Francisco and magically, and by chance, we had some free time - yes, free time on a film that ran us ragged for five months.

*Jusqu’au bout du monde*, de Wim Wenders

So Wim offered Robby that unexpected block of free time to create a scene à la Vermeer. To take his time to light Lois Chiles. The entire team stood around the edges of the set, watching him work, speechless in admiration.
When he’d finished, we all burst into applause.

Jacqueline Gamard is a script supervisor.