American Cinematographer - May 2008 - (Page 95)

Clubhouse News Garrett Bennett and Todd Field. Calvache subsequently teamed with Bennett on the feature Farewell to Harry (2002), and with Field on the features In the Bedroom (2001; AC Dec. ’01) and Little Children (2006; AC Jan. ’07). Calvache’s credits include the features Broken Vessels (1998; AC July ’98), Prey for Rock & Roll (2003) and La Suerte Dormida (2003), and numerous commercials in the States and abroad. He has also taught film studies at three institutions in Spain and served as a guest lecturer at Loyola Marymount University in Los Angeles. Fraker Tells All The ASC hosted a special screening of the acclaimed horror movie Rosemary’s Baby (1968) at the University of California-Los Angeles in late March, and director of photography William A. Fraker, ASC, BSC was on hand to shed new light on his collaboration with Roman Polanski. Fraker guided the audience through the picture, revealing how he and Polanski employed a single camera and only two lenses to create a unique visual grammar. Calvache photo by Robert Zuckerman. Fraker and Wexler photos by Isidore Mankofsky, ASC. Willy Kurant photo by Douglas Kirkland. New Member The Society recently welcomed Antonio Calvache, ASC, AEC into the fold of active members. Born in Spain, Calvache studied at the University of Madrid, T.A.I. (Taller de Artes Imaginarias) and I.O.R.T.V (Instituto de Radio y Television). Before he began working as a cinematographer, he honed his skills with a stills camera and as a theatricallighting designer. Calvache’s early forays as a director of photography included numerous short films, documentaries, commercials and music videos, as well as a dozen shows for the Spanish network Tele-5. He moved to Los Angeles to study at the American Film Institute, where he earned an M.F.A. in cinematography and met two future collaborators, directors Kurant at Cinémathèque Willy Kurant, ASC, AFC lent his voice to a discussion at Paris’ famed Cinémathèque Française in March. Hosted by Olivier Rousseau, author of the paper “Large Formats in French Fiction Films,” the evening focused on “Techniques and Aesthetics of CinemaScope.” The conversation covered the widescreen format from its first appearance in The Robe (1953) through its embrace by the French New Wave, marking an evolution from an epic format to one equally suited to psychological drama. I Below left: Haskell Wexler, ASC and his wife, Rita TaggartWexler, listen in as William A. Fraker, ASC, BSC (below right) recounts his experiences on the set of Rosemary’s Baby alongside the film’s camera operator, David Walsh. American Cinematographer 95

Table of Contents Feed for the Digital Edition of American Cinematographer - May 2008

American Cinematographer - May 2008 Contents Editor’s Note Global Village: The Fall Short Takes: ASC Laszlo Kovacs Short Takes: Heritage Award Winners Production Slate: Anamorph Production Slate: Fugitive Pieces Heavy-Metal Hero A Need for Speed Kink and the City Beautiful Minds A Hollywood Homecoming Post Focus: Paramount Restores The Godfather Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Antonio Calvache

American Cinematographer - May 2008

For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.