American Cinematographer - February 2018 - 50
◗
Passion for the Craft
Top left: Carpenter shoulders his camera. Top right: The cinematographer considers a setup for
Ant-Man. Middle: Carpenter working on location. Bottom: The cinematographer discusses a
frame while shooting the short The Final Adventure of John & Eleanor Greene.
50
February 2018
American Cinematographer
stop-motion visions, utilizing humans
interacting with inanimate moving
objects."
Carpenter became part of a
group of cinematographers who were
doing non-union work in Santa Clarita,
just outside of L.A., for New Line
horror films. "Nightmare on Elm Street
films were pretty much their big-ticket
franchise," he says. "There were a lot of
these kinds of movies. They might not
have been great, but they gave some of
us a canvas to paint on. After shooting
additional photography for New Line, I
later shot the low-budget comedyhorror pic Critters 2 with horror master
Mick Garris," another job Carpenter
credits Kass with helping him land.
A further opportunity soon
arose, whose benefits wouldn't be clear
for some time. "You never know what's
going to be the best thing for you,"
Carpenter opines. "I did a film called
Solar Crisis, which had Japanese funding and turned out to be a sciencefiction film that didn't work - in every
way possible. But I thought it looked
pretty good. So when it became apparent that it wasn't going to be released in
theaters, I gathered all the material I
could, and I went back and re-timed
and re-transferred it so I had something
to show. I called it a $20-million sample
reel."
Some time later, while shooting
Pet Sematary II - "with the delightful
Table of Contents for the Digital Edition of American Cinematographer - February 2018
Contents
American Cinematographer - February 2018 - Sponsor
American Cinematographer - February 2018 - Cover1
American Cinematographer - February 2018 - Cover2
American Cinematographer - February 2018 - 1
American Cinematographer - February 2018 - 2
American Cinematographer - February 2018 - Contents
American Cinematographer - February 2018 - 4
American Cinematographer - February 2018 - 5
American Cinematographer - February 2018 - 6
American Cinematographer - February 2018 - 7
American Cinematographer - February 2018 - 8
American Cinematographer - February 2018 - 9
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American Cinematographer - February 2018 - 30
American Cinematographer - February 2018 - 31
American Cinematographer - February 2018 - 32
American Cinematographer - February 2018 - 32a
American Cinematographer - February 2018 - 32b
American Cinematographer - February 2018 - 33
American Cinematographer - February 2018 - 34
American Cinematographer - February 2018 - 35
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American Cinematographer - February 2018 - 47
American Cinematographer - February 2018 - 48
American Cinematographer - February 2018 - 49
American Cinematographer - February 2018 - 50
American Cinematographer - February 2018 - 50a
American Cinematographer - February 2018 - 50b
American Cinematographer - February 2018 - 51
American Cinematographer - February 2018 - 52
American Cinematographer - February 2018 - 53
American Cinematographer - February 2018 - 54
American Cinematographer - February 2018 - 55
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American Cinematographer - February 2018 - Cover3
American Cinematographer - February 2018 - Cover4
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