American Cinematographer - January 2015 - 10

Laura Hillenbrand's bestselling nonfiction book
Unbroken: A World War II Story of Survival, Resilience,
and Redemption tells the story of Louis Zamperini,
whose remarkable willpower allowed him to endure
an almost incomprehensible series of hardships: a
plane crash, 47 days at sea on a life raft, and two
years as a prisoner of war. Director Angelina Jolie's
big-screen version of Zamperini's saga, shot by Roger
Deakins, ASC, BSC, emphasizes the positive message
in the plight of the former troublemaker turned track
star, who finished 8th in the 5,000-meter race during
the 1936 Summer Olympics in Berlin before enlisting
in the U.S. Army Air Forces.
In helping Jolie present Zamperini's story,
Deakins places viewers in the hero's headspace.
"There is a lot of action in this film, but it's really a
character piece," Deakins tells Jean Oppenheimer
("Ultimate Survivor," page 40). "The movie is shot from Louie's perspective in the sense that we
wanted the audience to experience what he is experiencing, rather than watching from afar."
In Wild, CSC member Yves Bélanger and director Jean-Marc Vallée tell another true tale
of survival, this one based on a 2012 memoir by Cheryl Strayed (Reese Witherspoon), a troubled
woman who sought to heal herself by embarking on a 1,100-mile solo trek from the Mojave
Desert to the Pacific Northwest. The filmmakers opted to use a handheld camera nearly exclusively, working with a small crew and as few movie lights as they could manage. In discussing
this strategy with Canada-based correspondent Mark Dillon ("Wandering Spirit," page 76), the
veteran cinematographer notes, "You would think this kind of guerrilla style is for the young,
but you need a lot of experience to be able to judge if a situation is interesting visually."
Exodus: Gods and Kings is an ambitious epic centering on the Biblical conflict between
Moses (Christian Bale) and the Egyptian pharaoh Ramses (Joel Edgerton). The project reteamed
director Ridley Scott with Dariusz Wolski, ASC, who shot the movie in native 3D. "Converting is
just as good as shooting in native 3D these days," Wolski maintains in his interview with Jay
Holben ("Blood Feud," page 54), "but Ridley wants to feel the shot and see what it's going to
look like on the final screen. We had immediate results by shooting native 3D, which gave Ridley
the opportunity to refine every composition."
Mr. Turner, shot by Dick Pope, BSC, finds its drama in the character of the pioneering,
eccentric 19th-century English painter J.M.W. Turner (Timothy Spall). Pope's stunning cinematography earned him the Vulcan Award of the Technical Artist at last May's Cannes Film Festival, and his work is now on view for a wider audience. In a Q&A with Benjamin B ("Eloquence
Through Art," page 66), Pope details his working methods with longtime collaborator Mike
Leigh, whose directorial style involves thoroughly rehearsing the actors before revealing the
results to Pope and the crew, who then help him define shots on the fly. "Basically, we make it
up as we go along," says Pope. "It's a journey that unravels as we go." Our coverage includes
a sidebar with Leigh, who offers his own perspective on the duo's divining-rod process.

Stephen Pizzello
Editor-in-Chief and Publisher
10

Photo by Owen Roizman, ASC.

Editor's Note



Table of Contents for the Digital Edition of American Cinematographer - January 2015

Contents
American Cinematographer - January 2015 - Intro
American Cinematographer - January 2015 - Cover1
American Cinematographer - January 2015 - Cover2
American Cinematographer - January 2015 - 1
American Cinematographer - January 2015 - 2
American Cinematographer - January 2015 - Contents
American Cinematographer - January 2015 - 4
American Cinematographer - January 2015 - 5
American Cinematographer - January 2015 - 6
American Cinematographer - January 2015 - 7
American Cinematographer - January 2015 - 8
American Cinematographer - January 2015 - 9
American Cinematographer - January 2015 - 10
American Cinematographer - January 2015 - 11
American Cinematographer - January 2015 - 12
American Cinematographer - January 2015 - 13
American Cinematographer - January 2015 - 14
American Cinematographer - January 2015 - 15
American Cinematographer - January 2015 - 16
American Cinematographer - January 2015 - 17
American Cinematographer - January 2015 - 18
American Cinematographer - January 2015 - 19
American Cinematographer - January 2015 - 20
American Cinematographer - January 2015 - 21
American Cinematographer - January 2015 - 22
American Cinematographer - January 2015 - 23
American Cinematographer - January 2015 - 24
American Cinematographer - January 2015 - 25
American Cinematographer - January 2015 - 26
American Cinematographer - January 2015 - 27
American Cinematographer - January 2015 - 28
American Cinematographer - January 2015 - 29
American Cinematographer - January 2015 - 30
American Cinematographer - January 2015 - 31
American Cinematographer - January 2015 - 32
American Cinematographer - January 2015 - 33
American Cinematographer - January 2015 - 34
American Cinematographer - January 2015 - 35
American Cinematographer - January 2015 - 36
American Cinematographer - January 2015 - 37
American Cinematographer - January 2015 - 38
American Cinematographer - January 2015 - 39
American Cinematographer - January 2015 - 40
American Cinematographer - January 2015 - 41
American Cinematographer - January 2015 - 42
American Cinematographer - January 2015 - 43
American Cinematographer - January 2015 - 44
American Cinematographer - January 2015 - 45
American Cinematographer - January 2015 - 46
American Cinematographer - January 2015 - 47
American Cinematographer - January 2015 - 48
American Cinematographer - January 2015 - K1
American Cinematographer - January 2015 - K2
American Cinematographer - January 2015 - K3
American Cinematographer - January 2015 - K4
American Cinematographer - January 2015 - K5
American Cinematographer - January 2015 - K6
American Cinematographer - January 2015 - K7
American Cinematographer - January 2015 - K8
American Cinematographer - January 2015 - K9
American Cinematographer - January 2015 - K10
American Cinematographer - January 2015 - K11
American Cinematographer - January 2015 - K12
American Cinematographer - January 2015 - 49
American Cinematographer - January 2015 - 50
American Cinematographer - January 2015 - 51
American Cinematographer - January 2015 - 52
American Cinematographer - January 2015 - 53
American Cinematographer - January 2015 - 54
American Cinematographer - January 2015 - 55
American Cinematographer - January 2015 - 56
American Cinematographer - January 2015 - 57
American Cinematographer - January 2015 - 58
American Cinematographer - January 2015 - 59
American Cinematographer - January 2015 - 60
American Cinematographer - January 2015 - 61
American Cinematographer - January 2015 - 62
American Cinematographer - January 2015 - 63
American Cinematographer - January 2015 - 64
American Cinematographer - January 2015 - 65
American Cinematographer - January 2015 - 66
American Cinematographer - January 2015 - 67
American Cinematographer - January 2015 - 68
American Cinematographer - January 2015 - 69
American Cinematographer - January 2015 - 70
American Cinematographer - January 2015 - 71
American Cinematographer - January 2015 - 72
American Cinematographer - January 2015 - 73
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American Cinematographer - January 2015 - 76
American Cinematographer - January 2015 - 77
American Cinematographer - January 2015 - 78
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American Cinematographer - January 2015 - 96
American Cinematographer - January 2015 - Cover3
American Cinematographer - January 2015 - Cover4
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