American Cinematographer - February 2013 - 69

Bruce Almighty photo by Ralph Nelson, SMPSP.

A year after making Dragonfly, Semler reteamed with Shadyac for a movie at the opposite end of the tonal spectrum, the
visual-effects-heavy comedy Bruce Almighty.

bloody little black [DIT] tent. I hate it,
but that’s the price you have to pay.”
Andrew Rowlands, SOC, the
A-camera operator on Apocalypto,
recalls an occasion when Semler
wanted to keep shooting after the sun
had set: “Dean was in the DIT tent,
and over headphones, I told him, ‘It’s
awfully dark out here.’ He said, ‘Don’t
worry. Keep shooting.’ After a few
minutes, I couldn’t see my hand in
front of my face, so I tried again.
‘Dean, it’s really dark out here.’ He
said, ‘Don’t worry about it, just bloody
shoot!’ Ten minutes later, he comes out
of the tent and says, ‘Holy shit, it’s dark
out here!’”
Though he has embraced digital
cinematography — he shot his latest
feature, the 2014 release Maleficent, on
the Arri Alexa — Semler still loves
film. Recently, he was sitting in a
screening room at Deluxe Laboratories

in Hollywood with Beverly Wood, an
ASC associate and the executive vice
president of technical services and
customer relations at Deluxe and
EFilm. “We could hear the projector
purring through the wall,” he says. “It’s
going to be a sad day when we don’t
hear that anymore.”
A self-professed “Panavision
man,” Semler has counted Bob Harvey,
the company’s senior vice president of
worldwide sales, among his friends and
colleagues since Young Guns (1998).
“Dean is the best there is,” maintains
Harvey. “Nobody has to panic over
anything when he is there because they
know he will take care of them. It’s an
honor to be considered one of his
friends.”
Semler is always conscious of the
budget, making him a production
manager’s dream. “He never asks for
anything unless he can really use it,”
www.theasc.com

says producer/production manager
James Brubaker, who has made several
films with Semler.
Noyce, who reteamed with
Semler on the thriller The Bone
Collector (1999), notes that Semler is
always sensitive to the director’s needs
in the editing room. “He knows exactly
how to get all the shots that will allow
me to cut a sequence into a fluid reality. That goes back to his documentary
training.”
Semler’s crew clearly worships
him. “He has the patience of Job,”
claims gaffer Jim Gilson, a longtime
collaborator. “Once you work with
him, you inevitably compare everybody
else to him. It’s unavoidable.”
According to Rowlands, “The first
week of a shoot, Dean learns everybody’s names on set — not just the
electricians’ and camera crew’s names,
➣
but everybody’s.”
February 2013

69



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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