American Cinematographer - February 2013 - 63

Photos courtesy of Dean Semler. Apocalypto photo by Andrew Cooper, SMPSP. Dances with Wolves photo by Ben Glass.

Opposite: Dean Semler,
ASC, ACS points the way
on location for
Apocalypto. This page,
top: At work on Dances
with Wolves, Semler and
1st AC Lee Blasingame
line up an over-theshoulder involving Lt.
Dunbar (Kevin Costner,
third from left), Kicking
Bird (Graham Greene,
fourth from left) and
other members of the
tribe. Bottom: One of
Semler’s adventures as a
young TV-news
cameraman in Australia
in 1964. “I was on my
way to cover a bush fire
for the TV news, and a
fire engine came
screaming over the hill. I
swerved to avoid it and
flipped over. The
firemen all got out. I
was fine, and between
the six of us, we righted
the vehicle, and I got
the footage and made it
back in time to get it on
the 6 o’clock news.”

“H

e’s a director’s secret weapon,”
says Angelina Jolie of Dean
Semler, ASC, ACS, who will
receive the ASC Lifetime
Achievement Award this month. With
some 60 films under his belt, Semler has
a special affinity for working with firsttime directors like Jolie, for whom he
shot In the Land of Blood and Honey
(2011).
Another such collaboration that
won Semler considerable acclaim was
Kevin Costner’s Dances with Wolves (AC
May ’91), whose seven Academy
Awards included statuettes for best
picture, directing and cinematography. “I
knew it was going to be tough out there,
and I knew I would make some
mistakes,” says Costner, explaining his
decision to hire Semler for his directing
debut. “I wanted somebody who could
roll with the punches and not be afraid
of the dirt. I didn’t know what my own
learning curve was going to be, and I
needed somebody who was going to
help me. Plus, Dean’s got that great
Australian mentality.”

Semler is an Aussie through and
through. He was born in 1943 in the
small town of Renmark, on “the Mighty
River Murray” in South Australia. “It
was semi-arid but on a beautiful river,”
he says. “I used to love getting on my
www.theasc.com

bike and just going, feeling the space,
feeling infinity.” His parents were strict
Lutherans and had no car, no telephone
and no television set. Every Sunday, the
family would don their best clothes and
➣
bicycle to church.
February 2013

63



http://www.theasc.com

American Cinematographer - February 2013

Table of Contents for the Digital Edition of American Cinematographer - February 2013

American Cinematographer - February 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
Production Slate: House of Cards • Caesar Must Die
The World’s Most Wanted Man
War on Crime
Crumbling Pillars
Vision and Verve
Postcards from Poland
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - American Cinematographer - February 2013
American Cinematographer - February 2013 - Cover2
American Cinematographer - February 2013 - 1
American Cinematographer - February 2013 - 2
American Cinematographer - February 2013 - Contents
American Cinematographer - February 2013 - 4
American Cinematographer - February 2013 - 5
American Cinematographer - February 2013 - 6
American Cinematographer - February 2013 - 7
American Cinematographer - February 2013 - Editor’s Note
American Cinematographer - February 2013 - 9
American Cinematographer - February 2013 - President’s Desk
American Cinematographer - February 2013 - 11
American Cinematographer - February 2013 - Short Takes: Marilyn Manson’s “Slo-Mo-Tion”
American Cinematographer - February 2013 - 13
American Cinematographer - February 2013 - 14
American Cinematographer - February 2013 - 15
American Cinematographer - February 2013 - 16
American Cinematographer - February 2013 - 17
American Cinematographer - February 2013 - Production Slate: House of Cards • Caesar Must Die
American Cinematographer - February 2013 - 19
American Cinematographer - February 2013 - 20
American Cinematographer - February 2013 - 21
American Cinematographer - February 2013 - 22
American Cinematographer - February 2013 - 23
American Cinematographer - February 2013 - 24
American Cinematographer - February 2013 - 25
American Cinematographer - February 2013 - 26
American Cinematographer - February 2013 - 27
American Cinematographer - February 2013 - 28
American Cinematographer - February 2013 - 29
American Cinematographer - February 2013 - 30
American Cinematographer - February 2013 - 31
American Cinematographer - February 2013 - The World’s Most Wanted Man
American Cinematographer - February 2013 - 33
American Cinematographer - February 2013 - 34
American Cinematographer - February 2013 - 35
American Cinematographer - February 2013 - 36
American Cinematographer - February 2013 - 37
American Cinematographer - February 2013 - 38
American Cinematographer - February 2013 - 39
American Cinematographer - February 2013 - 40
American Cinematographer - February 2013 - 41
American Cinematographer - February 2013 - War on Crime
American Cinematographer - February 2013 - 43
American Cinematographer - February 2013 - 44
American Cinematographer - February 2013 - 45
American Cinematographer - February 2013 - 46
American Cinematographer - February 2013 - 47
American Cinematographer - February 2013 - 48
American Cinematographer - February 2013 - 49
American Cinematographer - February 2013 - 50
American Cinematographer - February 2013 - 51
American Cinematographer - February 2013 - 52
American Cinematographer - February 2013 - 53
American Cinematographer - February 2013 - Crumbling Pillars
American Cinematographer - February 2013 - 55
American Cinematographer - February 2013 - 56
American Cinematographer - February 2013 - 57
American Cinematographer - February 2013 - 58
American Cinematographer - February 2013 - 59
American Cinematographer - February 2013 - 60
American Cinematographer - February 2013 - 61
American Cinematographer - February 2013 - Vision and Verve
American Cinematographer - February 2013 - 63
American Cinematographer - February 2013 - 64
American Cinematographer - February 2013 - 65
American Cinematographer - February 2013 - 66
American Cinematographer - February 2013 - 67
American Cinematographer - February 2013 - 68
American Cinematographer - February 2013 - 69
American Cinematographer - February 2013 - 70
American Cinematographer - February 2013 - 71
American Cinematographer - February 2013 - Postcards from Poland
American Cinematographer - February 2013 - 73
American Cinematographer - February 2013 - 74
American Cinematographer - February 2013 - 75
American Cinematographer - February 2013 - New Products & Services
American Cinematographer - February 2013 - 77
American Cinematographer - February 2013 - 78
American Cinematographer - February 2013 - 79
American Cinematographer - February 2013 - 80
American Cinematographer - February 2013 - 81
American Cinematographer - February 2013 - International Marketplace
American Cinematographer - February 2013 - Classified Ads
American Cinematographer - February 2013 - Ad Index
American Cinematographer - February 2013 - 85
American Cinematographer - February 2013 - Clubhouse News
American Cinematographer - February 2013 - 87
American Cinematographer - February 2013 - ASC Close-Up: Stephen Goldblatt
American Cinematographer - February 2013 - Cover3
American Cinematographer - February 2013 - Cover4
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