American Cinematographer - February 2017 - 57

Jan Troell. He also shot second unit for
Vittorio Storaro, ASC, AIC on the
New York sections of Bertolucci's La
Luna. "It was the best film school I
could ever attend," he states of this
period. He could see firsthand how
these masters worked and interacted
with their crews. Nykvist, he says, "could
remember every shot he'd ever done. So
of course I would ask him about working with Ingmar Bergman, and he was
more than forthright - to the point
that the director asked us to stop talking
about Bergman films and work on his
film! He did everything the simplest
way possible. If someone else would use
a 10K, he'd use a 2K soft light." Müller,
Lachman notes, "used natural sources
and ambient light, mixing the different
types of sources and color temperatures
working with wide-open stops on the
lens. He was a master at controlling the
image with ND gels, wanting to capture
the authenticity of what the light was on
the location." Storaro, on the other
hand, "created his own stylized light for
an 'umbra' look. I learned how he used
highlights and shadow for a chiaroscuro
look, how he orchestrated the lighting
and could move the lights within a
scene."
After some opportunities shooting indie features - such as Union City
with Deborah Harry from the famed
group Blondie, and The Lords of
Flatbush, starring a pre-Rocky Sylvester
Stallone - Lachman's first break on a
full-fledged studio feature came when
he was hired to shoot Desperately
Seeking Susan, a distinctively mid-'80s
movie directed by Susan Seidelman and
featuring Madonna in a saturated,
enticing, foreboding East Village that is
contrasted with the middle-class pastel
life of Rosanna Arquette's character.
Some cinematographers might be
content, their first time on a show of this
size, to keep a low profile and take few
- if any - chances, but even at this
early stage in his career, Lachman was
devoted to exploring what's behind the
image. "It never made sense to me as a
Forties screwball comedy," he says of
Susan, "but visually, I felt I could create

Top: Lachman lines up a shot for True Stories. Middle: The cinematographer measures the light
during the filming of Mississippi Masala. Bottom: Lachman shoulders his camera while hiking up
a volcano for Werner Herzog's documentary La Soufrière.

www.theasc.com

February 2017

57


http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - February 2017

Contents
American Cinematographer - February 2017 - Cover1
American Cinematographer - February 2017 - Cover2
American Cinematographer - February 2017 - 1
American Cinematographer - February 2017 - 2
American Cinematographer - February 2017 - Contents
American Cinematographer - February 2017 - 4
American Cinematographer - February 2017 - 5
American Cinematographer - February 2017 - 6
American Cinematographer - February 2017 - 7
American Cinematographer - February 2017 - 8
American Cinematographer - February 2017 - 9
American Cinematographer - February 2017 - 10
American Cinematographer - February 2017 - 11
American Cinematographer - February 2017 - 12
American Cinematographer - February 2017 - 13
American Cinematographer - February 2017 - 14
American Cinematographer - February 2017 - 15
American Cinematographer - February 2017 - 16
American Cinematographer - February 2017 - 17
American Cinematographer - February 2017 - 18
American Cinematographer - February 2017 - 19
American Cinematographer - February 2017 - 20
American Cinematographer - February 2017 - 21
American Cinematographer - February 2017 - 22
American Cinematographer - February 2017 - 23
American Cinematographer - February 2017 - 24
American Cinematographer - February 2017 - 25
American Cinematographer - February 2017 - 26
American Cinematographer - February 2017 - 27
American Cinematographer - February 2017 - 28
American Cinematographer - February 2017 - 29
American Cinematographer - February 2017 - 30
American Cinematographer - February 2017 - 31
American Cinematographer - February 2017 - 32
American Cinematographer - February 2017 - 33
American Cinematographer - February 2017 - 34
American Cinematographer - February 2017 - 35
American Cinematographer - February 2017 - 36
American Cinematographer - February 2017 - A
American Cinematographer - February 2017 - B
American Cinematographer - February 2017 - 37
American Cinematographer - February 2017 - 38
American Cinematographer - February 2017 - 39
American Cinematographer - February 2017 - 40
American Cinematographer - February 2017 - 41
American Cinematographer - February 2017 - 42
American Cinematographer - February 2017 - 43
American Cinematographer - February 2017 - 44
American Cinematographer - February 2017 - 45
American Cinematographer - February 2017 - 46
American Cinematographer - February 2017 - 47
American Cinematographer - February 2017 - 48
American Cinematographer - February 2017 - 49
American Cinematographer - February 2017 - 50
American Cinematographer - February 2017 - 51
American Cinematographer - February 2017 - 52
American Cinematographer - February 2017 - 53
American Cinematographer - February 2017 - I1
American Cinematographer - February 2017 - I2
American Cinematographer - February 2017 - I3
American Cinematographer - February 2017 - I4
American Cinematographer - February 2017 - I5
American Cinematographer - February 2017 - I6
American Cinematographer - February 2017 - 54
American Cinematographer - February 2017 - 55
American Cinematographer - February 2017 - 56
American Cinematographer - February 2017 - 57
American Cinematographer - February 2017 - 58
American Cinematographer - February 2017 - 59
American Cinematographer - February 2017 - 60
American Cinematographer - February 2017 - 61
American Cinematographer - February 2017 - 62
American Cinematographer - February 2017 - 63
American Cinematographer - February 2017 - 64
American Cinematographer - February 2017 - 65
American Cinematographer - February 2017 - 66
American Cinematographer - February 2017 - 67
American Cinematographer - February 2017 - 68
American Cinematographer - February 2017 - 69
American Cinematographer - February 2017 - 70
American Cinematographer - February 2017 - 71
American Cinematographer - February 2017 - 72
American Cinematographer - February 2017 - 73
American Cinematographer - February 2017 - 74
American Cinematographer - February 2017 - 75
American Cinematographer - February 2017 - 76
American Cinematographer - February 2017 - 77
American Cinematographer - February 2017 - 78
American Cinematographer - February 2017 - 79
American Cinematographer - February 2017 - 80
American Cinematographer - February 2017 - 81
American Cinematographer - February 2017 - 82
American Cinematographer - February 2017 - 83
American Cinematographer - February 2017 - 84
American Cinematographer - February 2017 - 85
American Cinematographer - February 2017 - 86
American Cinematographer - February 2017 - 87
American Cinematographer - February 2017 - 88
American Cinematographer - February 2017 - 89
American Cinematographer - February 2017 - 90
American Cinematographer - February 2017 - 91
American Cinematographer - February 2017 - 92
American Cinematographer - February 2017 - 93
American Cinematographer - February 2017 - 94
American Cinematographer - February 2017 - 95
American Cinematographer - February 2017 - 96
American Cinematographer - February 2017 - Cover3
American Cinematographer - February 2017 - Cover4
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