Dear Colleague:
Here's an advance look at the June 2004 issue of American Cinematographer magazine, which will focus on the first wave of summer blockbusters.
Also included in this e-newsletter is some recent news from the American Society of Cinematographers.
The Day After Tomorrow
Cinematographer Ueli Steiger, ASC reteams with director Roland Emmerich (Independence Day, Godzilla) on this epic thriller. Loosely based on the nonfiction book The Coming of the Global Superstorm, The Day After Tomorrow focuses on a paleoclimatologist (played by Dennis Quaid) who tries to save the world from the devastating effects of accelerated global warming: torrential rains, blinding blizzards and catastrophic tornadoes and hurricanes. Steiger will reveal to AC how the filmmakers simulated these cataclysms, both on stage and on location.
The Stepford Wives
In 1975, the first motion-picture adaptation of Ira Levin’s novel The Stepford Wives was released. The thriller, about women in a Connecticut bedroom community being transformed by their husbands into subservient robots, was photographed with eerie panache by Owen Roizman, ASC. This new Paramount remake was shot by Rob Hahn, ASC, who became a fully fledged director of photography after serving as Roizman's second assistant cameraman and camera operator. Hahn and director Frank Oz took a markedly different approach on the new Stepford Wives, transforming the tale into a parodic take on the eternal battle of the sexes. In a detailed interview, Hahn will discuss his approach to this arch update of the original cult classic.
Harry Potter and the Prisoner of Azkeban
Michael Seresin, BSC manned the camera for this third installment of the wildly popular Harry Potter film series, which was directed by Alfonso Cuaron (The Little Princess, Y tu mamá también). Seresin will reveal how he and Cuaron placed their own stamp on the series while following the blueprint created on the first two films by director Chris Columbus and cinematographers John Seale, ASC, ASC (Harry Potter and the Sorcerer's Stone) and Roger Pratt, BSC (Harry Potter and the Chamber of Secrets).
Sky Captain & the World of Tomorrow
Cinematographer Eric Adkins faced an unusual challenge on this stylish science-fiction film, which offers a dramatic, retro-futuristic look straight out of comic books and film noir. The film was shot almost entirely with actors performing in front of bluescreens, which allowed the later compositing of spectacular computer-generated effects. AC's own technical editor, Christopher Probst, served as the show's camera operator, and his interview with Adkins will give readers a truly inside look at how the project was accomplished.
Salem's Lot
Australian cinematographer Ben Nott shot this new TV version of author Stephen King's classic horror novel about a plague of vampires that overruns a small New England town. The TNT telefilm was helmed by cinematographer-turned-director Mikael Salomon, ASC, who brought a keen knowledge of camerawork to his collaboration with Nott. Both filmmakers will offer their thoughts on the project and their working methods.
This issue will also feature a report from the recent Cinematographer's Day event staged in Bangkok, Thailand, as well our usual slate of regular departments:
Global Village details the making of Zatoichi, a stylish modern update of the famous Japanese film series about a blind samurai swordsman who helps innocent citizens defend themselves against tyrannical villains. Cinematographer Katsumi Yanagishima and lighting designer Hitoshi Takaya will analyze their collaboration with writer/director Takeshi Kitano, who also stars as the titular hero.
DVD Playback will review discs of three harrowing films that present different views of World War II: Schindler's List (1993), which earned Oscars for cinematographer Janusz Kaminski, ASC and director Steven Spielberg; Elem Klimov's Come and See (1985, shot by Alexsei Rodionov), an award-winning Russian film that depicts the conflict through the terrified eyes of a young boy; and Luchino Visconti's The Damned (1969, shot by Pasqualino De Santis and Armundo Nannuzzi), an ambitious epic about a family of German industrialists whose collaboration with the Nazis leads to their collective downfall.
Production Slate will present pieces on two projects that present unique perspectives on the American experience: America's Heart and Soul, a visually sumptuous documentary in which director/cinematographer Louis Schwartzberg traverses the country to capture vignettes of diverse citizens at work, and American Family, an acclaimed PBS television series shot by Rey Villalobos that follows the fortunes of a Mexican family living in East Los Angeles.
Points East will feature insights from cinematographer Lee Daniel about his work on Before Sunset, a sequel to director Richard Linklater's touching 1995 romantic drama Before Sunrise – which was also shot by Daniel.
Short Takes will spotlight the projects that recently earned ASC Heritage Awards for student filmmakers Nelson Cragg III (from the University of Southern California) and Bill Fernandez (from Florida State University).
