American Cinematographer - February 2012 - 18
Production Slate
Oskar Schell (Thomas Horn) mourns his late father, who died in the September 2001 terrorist attacks, in Extremely Loud and Incredibly Close, directed by Stephen Daldry and shot by Chris Menges, ASC, BSC.
I
9/11’s Impact By Mark Hope-Jones
Based on a novel by Jonathan Safran Foer, Extremely Loud and Incredibly Close follows 9-year-old New Yorker Oskar Schell (Thomas Horn) as he embarks on a quest to find the lock that fits a key he found among the possessions of his late father (Tom Hanks), who died in the September 2001 terrorist attacks. The quest takes the boy all over the city, where he encounters not only the still-grieving wider community, but also bitter, hidden rifts within his own family. When Chris Menges, ASC, BSC got the call from director Stephen Daldry about shooting the picture, it was only a few weeks before principal photography was set to begin. Harris Savides, ASC had to depart the production for personal reasons, and Daldry needed a replacement on short notice. He had worked with Menges on The Reader (2008). Menges arrived in New York with just three weeks to prepare, and he immediately began working with 1st AC Gregor
18 February 2012
Tavenner, who had been testing the Arri Alexa and ArriRaw recording format at Savides’ request. “When they first talked about hiring Chris, [production] was leaning toward shooting 35mm, but I told Chris that if he had any interest in going with the Alexa, then we’d make it work for him,” says Tavenner. “I had worked with the Alexa on Hugo [shot by Robert Richardson, ASC; AC Dec. ’11], but it was a bit of a leap of faith for Chris. His response was, ‘Good. It sounds exciting.’” Comprehensive tests were rapidly shot to establish the camera’s image characteristics, and Tavenner brought on digitalimaging technician Abby Levine to help coordinate the data workflow and manage the Codex recorders. Menges was excited by the possibilities afforded by the new technology, but focused firmly on how it, and he, could best serve the story, the director and the actors. “The big issues for me were all about the sensibilities of the boy, Thomas, who had never acted before,” he says. “I wanted to try to shoot with no lights on the floor and no marks to give him freedom, because I knew that if we could capture his performance, then we had the movie.
American Cinematographer
American Cinematographer - February 2012
Table of Contents for the Digital Edition of American Cinematographer - February 2012
American Cinematographer - February 2012
Contents
Editor’s Note
President’s Desk
Short Takes: NASA time-lapse footage of Earth
Production Slate: Extremely Loud and Incredibly Close • Act of Valor
Saving the Whales
High Stakes
A Very Bad Cop
Cinema, Italian Style
Filmmakers’ Forum: Hiro Narita, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - American Cinematographer - February 2012
American Cinematographer - February 2012 - Cover2
American Cinematographer - February 2012 - 1
American Cinematographer - February 2012 - 2
American Cinematographer - February 2012 - Contents
American Cinematographer - February 2012 - 4
American Cinematographer - February 2012 - 5
American Cinematographer - February 2012 - 6
American Cinematographer - February 2012 - 7
American Cinematographer - February 2012 - Editor’s Note
American Cinematographer - February 2012 - 9
American Cinematographer - February 2012 - President’s Desk
American Cinematographer - February 2012 - 11
American Cinematographer - February 2012 - Short Takes: NASA time-lapse footage of Earth
American Cinematographer - February 2012 - 13
American Cinematographer - February 2012 - 14
American Cinematographer - February 2012 - 15
American Cinematographer - February 2012 - 16
American Cinematographer - February 2012 - 17
American Cinematographer - February 2012 - Production Slate: Extremely Loud and Incredibly Close • Act of Valor
American Cinematographer - February 2012 - 19
American Cinematographer - February 2012 - 20
American Cinematographer - February 2012 - 21
American Cinematographer - February 2012 - 22
American Cinematographer - February 2012 - 23
American Cinematographer - February 2012 - 24
American Cinematographer - February 2012 - 25
American Cinematographer - February 2012 - 26
American Cinematographer - February 2012 - 27
American Cinematographer - February 2012 - 28
American Cinematographer - February 2012 - 29
American Cinematographer - February 2012 - Saving the Whales
American Cinematographer - February 2012 - 31
American Cinematographer - February 2012 - 32
American Cinematographer - February 2012 - 33
American Cinematographer - February 2012 - 34
American Cinematographer - February 2012 - 35
American Cinematographer - February 2012 - 36
American Cinematographer - February 2012 - 37
American Cinematographer - February 2012 - 38
American Cinematographer - February 2012 - 39
American Cinematographer - February 2012 - 40
American Cinematographer - February 2012 - 41
American Cinematographer - February 2012 - High Stakes
American Cinematographer - February 2012 - 43
American Cinematographer - February 2012 - 44
American Cinematographer - February 2012 - 45
American Cinematographer - February 2012 - 46
American Cinematographer - February 2012 - 47
American Cinematographer - February 2012 - 48
American Cinematographer - February 2012 - 49
American Cinematographer - February 2012 - 50
American Cinematographer - February 2012 - 51
American Cinematographer - February 2012 - 52
American Cinematographer - February 2012 - 53
American Cinematographer - February 2012 - A Very Bad Cop
American Cinematographer - February 2012 - 55
American Cinematographer - February 2012 - 56
American Cinematographer - February 2012 - 57
American Cinematographer - February 2012 - 58
American Cinematographer - February 2012 - 59
American Cinematographer - February 2012 - 60
American Cinematographer - February 2012 - 61
American Cinematographer - February 2012 - Cinema, Italian Style
American Cinematographer - February 2012 - 63
American Cinematographer - February 2012 - 64
American Cinematographer - February 2012 - 65
American Cinematographer - February 2012 - 66
American Cinematographer - February 2012 - 67
American Cinematographer - February 2012 - 68
American Cinematographer - February 2012 - 69
American Cinematographer - February 2012 - 70
American Cinematographer - February 2012 - 71
American Cinematographer - February 2012 - Filmmakers’ Forum: Hiro Narita, ASC
American Cinematographer - February 2012 - 73
American Cinematographer - February 2012 - 74
American Cinematographer - February 2012 - 75
American Cinematographer - February 2012 - New Products & Services
American Cinematographer - February 2012 - 77
American Cinematographer - February 2012 - 78
American Cinematographer - February 2012 - 79
American Cinematographer - February 2012 - 80
American Cinematographer - February 2012 - 81
American Cinematographer - February 2012 - International Marketplace
American Cinematographer - February 2012 - Classified Ads
American Cinematographer - February 2012 - Ad Index
American Cinematographer - February 2012 - 85
American Cinematographer - February 2012 - Clubhouse News
American Cinematographer - February 2012 - 87
American Cinematographer - February 2012 - ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - Cover3
American Cinematographer - February 2012 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com