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Dear Colleague:
Here's an advance look at the October 2005 issue
of American Cinematographer magazine,
which will have a special focus on specialized cinematography.
Curse of the Were-rabbit (DreamWorks)
AC flew to England last spring to spend a day
on the set of Aardman Animations’ Wallace & Gromit
feature The Curse of the Were-rabbit, a wry homage
to classic horror movies that takes stop-motion animation
in new directions. Our coverage of the production, which
was almost two years in the making, includes interviews
with co-directors of photography Dave Alex Riddett and
Tristan Oliver, technical director Tom Barnes, production
designer Phil Lewis, and visual-effects supervisor Paddy
Eason, as well as lighting diagrams for two key sequences.
Corpse Bride (Warner Bros.)
Director of photography/visual-effects supervisor Pete
Kozachik will outline his approach to this spooky and
humorous stop-motion feature, which was shot primarily
with digital still cameras. The project, which reunited
Kozachik with producer/director Tim Burton (for whom
Kozachik had previously photographed The Nightmare
Before Christmas), tells the tale of a shy lad who
jokingly slips a wedding ring onto the finger of a female
skeleton — who then rises from the grave as a ghost
to claim her reluctant husband. Burton co-directed with
Mike Johnson, who served as an assistant animator on
Nightmare.
The Greatest Game Ever Played (Buena
Vista Pictures)
Cinematographer Shane Hurlbut (The Rat Pack, Drumline,
Mr. 3000) teed up for this visually striking movie
about golf, employing a number of ingenious and unusual
camera rigs that helped him capture the essence of the
game from a series of very unique angles. Our coverage
will take readers right onto the course and reveal the
technical tricks behind some of the most creative and
impressive shots in the film — which tells the true
story of the 1913 U.S. Open, where 20-year-old Francis
Ouimet defeated reigning champion Harry Vardon.
Capote (Sony Pictures Classics)
Adam Kimmel was behind the camera on this brooding
period piece, which concerns renowned author Truman
Capote's dogged efforts to research and write his 1965
true-crime classic In Cold Blood. Capote (played
by Philip Seymour Hoffman) spent six years uncovering
the story behind the seemingly motiveless murder of
an entire Kansas family. Kimmel will discuss how he
and director Bennett Miller dramatized the writer's
attempt to reconstruct the murder and the subsequent
police investigation that led to the capture, trial
and execution of the killers.
The October issue's departments will also offer
illuminating insights:
DVD Playback will present reviews of three new
releases: Rebel Without a Cause
(1955), shot by Ernest Haller, ASC; Bullitt
(1968), shot by William A. Fraker, ASC; and Moonlighting:
Seasons 1 and 2, shot by Gerald Perry Finnerman,
ASC and Michael D. Margulies, ASC.
Production Slate will lead off with a piece
on the DreamWorks horse-racing drama Dreamer:
Inspired by a True Story, for which cinematographer
Fred Murphy, ASC employed various special rigs to capture
the track action. A second article will detail the photography
for the Focus Features film The Constant Gardener,
which is based on the novel by John Le Carré. The project
reteamed cinematographer Cesar Charlone, ABC and director
Fernando Meirelles, who previously collaborated on the
Academy Award-nominated Brazilian feature City of
God.
Points East will present insights from cinematographer
Roberto Schaefer about his work on director Marc Forster's
dramatic feature Stay, which concerns
an Ivy League professor who tries to prevent one of
his students from committing suicide. Schaefer and Forster
previously collaborated on the Oscar-nominated films
Monster's Ball and Finding Neverland.
Short Takes will present an interview with cinematographer
Thomas Bergmann about his work on Die Letzten
Tage (The Last Days), a German short
film set during World War II.
Post Focus will lead off with a piece on Serenity,
a feature-length version of Joss Whedon's sci-fi television
series Firefly that was shot by accomplished
ASC member Jack Green (Unforgiven). This section
will also detail the clever computerized effects that
Digital Domain visual-effects supervisor Eric Barba
fashioned for a recent Nine Inch Nails music
video ("Only") directed by David
Fincher.
Filmmakers' Forum will offer a piece penned
by cinematographer Anthony Dod Mantle, DFF, BSC about
his work on the feature film Dear Wendy.
ASC Close-Up will present a Q&A profile
of esteemed ASC member Richard Edlund, whose
extensive credits as a visual-effects expert include
the original Star Wars trilogy, Ghostbusters,
2010, Die Hard, Alien3, Multiplicity,
Air Force One and Angels in America.
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