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Dear Colleague:
Here's an advance
look at the July 2004 issue of American Cinematographer
magazine.
Also included
in this e-newsletter is some recent news from the American Society
of Cinematographers.
Note:
Some of these articles may be subject to change.
The Terminal
Cinematographer
Janusz Kaminski, ASC continues his ongoing collaboration with director
Steven Spielberg in this offbeat drama, which tells the tale of
an Eastern European immigrant (Tom Hanks) who finds himself stuck
in a New York airport when his tiny, war-torn country dissolves
as he is landing. With his passport and paperwork no longer valid,
he decides to take up residence in the airport, where he befriends
the facility's staff and falls in love with a flight attendant.
Kaminski shot nearly the entire film within an elaborate, fully
functional airport-terminal set that was specially built for the
production.
I, Robot
Australian cameraman
Simon Duggan, ACS shot this sci-fi spectacular, which is based on
the well-known novel by Isaac Asimov. Set on Earth in the year 2035,
when robots are commonly employed as help by humans, the film follows
the adventures of a detective (Will Smith) who is investigating
a murder that may have been committed by a robot – despite
the fact that the artificial beings have been programmed to always
obey the law.
Spider-Man
2
Bill Pope, ASC
manned the camera on this action-packed sequel to the 2002 box-office
blockbuster Spider-Man, which was shot by Don Burgess, ASC.
Pope and director Sam Raimi sought to lend the new film a moodier
edge, and the cinematographer will specifically discuss how postproduction
and special effects impacted the project's visual style.
Something
the Lord Made
This HBO drama,
which dramatizes the relationship between heart-surgery pioneers
Alfred Blalock and Vivien Thomas, was shot by award-winning cinematographer
Donald M. Morgan, ASC – whose trophy case boasts four Emmys
(among a total of eight nominations) and four ASC Awards (among
a total of six nominations).
Two Brothers
Cinematographer
Jean-Marie Dreujou faced some unique challenges on this film, which
tells the tale of two tiger cubs whose lives take divergent paths
when they are separated in the wild and captured by hunters. Dreujou
helped director Jean-Jacques Annaud create a vibrant and exotic
look.
Salute to
women cinematographers
Although cinematography
is still a predominantly male profession, a number of women have
risen to prominence in the industry. This overview will profile
a group of the most highly regarded: Carolyn Chen; Pauline Heaton;
Ellen Kuras, ASC; Arlene Donnelly Nelson; Tami Reiker, ASC; Lisa
Rinzler; Nancy Schreiber, ASC; Sandi Sissel, ASC; Amy Vincent, ASC;
and Mandy Walker.
This issue's
departments will also offer illuminating insights:
The Post
Process will celebrate the 85th anniversary of Pacific Title,
one of the industry's vanguard companies.
DVD Playback
will review discs of films shot by three legendary cinematographers:
The Grapes of Wrath (Gregg Toland, ASC, 1940), Meet Me
in St. Louis (George Folsey, ASC, 1944) and Pickup on South
Street (Joseph MacDonald, 1953).
Production
Slate will present pieces on De-Lovely, a musical portrait
of American composer Cole Porter shot by Tony Pierce-Roberts, BSC,
and Lakshya, a war drama shot in India and Pakistan by Christopher
Popp, a past winner of the ASC Heritage Award for student cinematographers.
Points East
will feature insights from cinematographer Jonathan Freeman
about his work on the F/X network television series Rescue Me.
Short Takes
will present coverage of the striking short film A Woman Reported
(shot by Michael Negrin, ASC) and a memorable ad for Aflac (shot
by Frederick Elmes, ASC).
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