American Cinematographer - January 2015 - 41

Unit photography by David James.
Images and frame grabs courtesy of
Universal Pictures.

Opposite: The World War II story of Louis "Louie" Zamperini's survival of a Japanese prisoner-of-war
camp, and eventual forgiveness of his captors, comes to life in Unbroken. This page: Angelina Jolie
directs with cinematographer Roger Deakins, ASC, BSC by her side.

years as a prisoner of war, an experience
that left him filled with hate. After
some troubled post-war years, he
learned to forgive his former captors
and became an inspirational speaker,
spreading a message of compassion
until his death last summer at the age of
97.
The subtitle of Hillenbrand's
book captures the essence of
Zamperini's dramatic journey: A World

War II Story of Survival, Resilience, and
Redemption. This harrowing yet ultimately uplifting true-life saga was
brought to the screen by Angelina Jolie,
in her second outing as a feature director. Standing by her side was Roger
Deakins, ASC, BSC, whose presence
undoubtedly inspired confidence; the
celebrated cinematographer has been
nominated for 11 Academy Awards
and 12 ASC Awards (winning the
ASC honor three times, for Skyfall [AC
Dec. '12], The Man Who Wasn't There
[AC Oct. '01] and The Shawshank
Redemption), and he received the ASC
Lifetime Achievement Award in 2010.
"There is a lot of action in this
film, but it's really a character piece,"
says Deakins, who sat down with AC
during a break from color-timing the
picture. The movie features two actors
as Zamperini: C.J. Valleroy, who plays
Louie as a child, and Jack O'Connell,
www.theasc.com

who portrays him as an adult. Deakins
adds, "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."
According to the cinematographer, one of Jolie's main visual references was Sidney Lumet's The Hill,
photographed by the late Oswald
Morris, BSC. "She loved the bold
compositions, the way Lumet handled
the action, and the kind of simple, classic way that film was made. She didn't
want handheld work for Unbroken; she
wanted a much more classic rendering."
That style fit perfectly with the
cinematographer's own preferences,
developed over 40 years in the business.
"I shoot things very straightforwardly
- it's about composition, framing and
light. I'm not big on shooting a lot of
close-ups, and I don't really mess with
January 2015

41


http://www.theasc.com

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
American Cinematographer - January 2015 - 74
American Cinematographer - January 2015 - 75
American Cinematographer - January 2015 - 76
American Cinematographer - January 2015 - 77
American Cinematographer - January 2015 - 78
American Cinematographer - January 2015 - 79
American Cinematographer - January 2015 - 80
American Cinematographer - January 2015 - 81
American Cinematographer - January 2015 - 82
American Cinematographer - January 2015 - 83
American Cinematographer - January 2015 - 84
American Cinematographer - January 2015 - 85
American Cinematographer - January 2015 - 86
American Cinematographer - January 2015 - 87
American Cinematographer - January 2015 - 88
American Cinematographer - January 2015 - 89
American Cinematographer - January 2015 - 90
American Cinematographer - January 2015 - 91
American Cinematographer - January 2015 - 92
American Cinematographer - January 2015 - 93
American Cinematographer - January 2015 - 94
American Cinematographer - January 2015 - 95
American Cinematographer - January 2015 - 96
American Cinematographer - January 2015 - Cover3
American Cinematographer - January 2015 - Cover4
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