American Cinematographer - May 2018 - 49

Unit photography by Sife Eddine El Amine and Mohammed Kamal, courtesy of Bleecker Street.

solutions, as there would be no shot lists,
no rehearsals, no marks.
"I also wanted someone who
could operate the A camera so we could
move quickly," Anderson says. Open to
new talent, he hired Charpentier, an
award-winning Belgian cinematographer with a background in commercials
(who was featured in AC 's 2017 "Rising
Stars of Cinematography" roster).
Though
this
would
be
Charpentier's first feature as director of
photography, he had some strong selling
points. Not only was he "an amazing
operator," in Anderson's view, but he also
owned his own gear, including an Arri
Alexa XT and two anamorphic prime
sets. "It was one-stop shopping with this
guy," the director says. But what clinched
it, Anderson recalls, was "when I looked
him up online, there was a photo of him
with the camera on his shoulder, rollerblading behind [two nude bicyclists]. It
was like, 'This guy's gung-ho, man. He'll
do anything to get the shot.'"
Even better, Charpentier's
anamorphics were vintage Russianmade Optica Elite MK-IVs and
Japanese Kowa Prominars - optics that
the filmmakers felt were ideal for a

Opposite and
above: Former
U.S. diplomat
Mason Skiles (Jon
Hamm) must face
his tragic past
when he is
summoned back
to Lebanon to
help rescue his
erstwhile best
friend in the
political thriller
Beirut. Left:
Cinematographer
Björn
Charpentier, SBC
eyes his frame.

www.ascmag.com

May 2018

49



http://www.ascmag.com

Table of Contents for the Digital Edition of American Cinematographer - May 2018

Contents
American Cinematographer - May 2018 - Cover1
American Cinematographer - May 2018 - Cover2
American Cinematographer - May 2018 - 1
American Cinematographer - May 2018 - 2
American Cinematographer - May 2018 - Contents
American Cinematographer - May 2018 - 4
American Cinematographer - May 2018 - 5
American Cinematographer - May 2018 - 6
American Cinematographer - May 2018 - 7
American Cinematographer - May 2018 - 8
American Cinematographer - May 2018 - 9
American Cinematographer - May 2018 - 10
American Cinematographer - May 2018 - 11
American Cinematographer - May 2018 - 12
American Cinematographer - May 2018 - 13
American Cinematographer - May 2018 - 14
American Cinematographer - May 2018 - 15
American Cinematographer - May 2018 - 16
American Cinematographer - May 2018 - 17
American Cinematographer - May 2018 - 18
American Cinematographer - May 2018 - 19
American Cinematographer - May 2018 - 20
American Cinematographer - May 2018 - 21
American Cinematographer - May 2018 - 22
American Cinematographer - May 2018 - 23
American Cinematographer - May 2018 - 24
American Cinematographer - May 2018 - 25
American Cinematographer - May 2018 - 26
American Cinematographer - May 2018 - 27
American Cinematographer - May 2018 - 28
American Cinematographer - May 2018 - 29
American Cinematographer - May 2018 - 30
American Cinematographer - May 2018 - 31
American Cinematographer - May 2018 - 32
American Cinematographer - May 2018 - 33
American Cinematographer - May 2018 - 34
American Cinematographer - May 2018 - 35
American Cinematographer - May 2018 - 36
American Cinematographer - May 2018 - 37
American Cinematographer - May 2018 - 38
American Cinematographer - May 2018 - 39
American Cinematographer - May 2018 - 40
American Cinematographer - May 2018 - 41
American Cinematographer - May 2018 - 42
American Cinematographer - May 2018 - 43
American Cinematographer - May 2018 - 44
American Cinematographer - May 2018 - 45
American Cinematographer - May 2018 - 46
American Cinematographer - May 2018 - 47
American Cinematographer - May 2018 - 48
American Cinematographer - May 2018 - 49
American Cinematographer - May 2018 - 50
American Cinematographer - May 2018 - 51
American Cinematographer - May 2018 - 52
American Cinematographer - May 2018 - 53
American Cinematographer - May 2018 - 54
American Cinematographer - May 2018 - 55
American Cinematographer - May 2018 - 56
American Cinematographer - May 2018 - 57
American Cinematographer - May 2018 - 58
American Cinematographer - May 2018 - 59
American Cinematographer - May 2018 - 60
American Cinematographer - May 2018 - 61
American Cinematographer - May 2018 - 62
American Cinematographer - May 2018 - 63
American Cinematographer - May 2018 - 64
American Cinematographer - May 2018 - 65
American Cinematographer - May 2018 - 66
American Cinematographer - May 2018 - 67
American Cinematographer - May 2018 - 68
American Cinematographer - May 2018 - 69
American Cinematographer - May 2018 - 70
American Cinematographer - May 2018 - 71
American Cinematographer - May 2018 - 72
American Cinematographer - May 2018 - 73
American Cinematographer - May 2018 - 74
American Cinematographer - May 2018 - 75
American Cinematographer - May 2018 - 76
American Cinematographer - May 2018 - 77
American Cinematographer - May 2018 - 78
American Cinematographer - May 2018 - 79
American Cinematographer - May 2018 - 80
American Cinematographer - May 2018 - 81
American Cinematographer - May 2018 - 82
American Cinematographer - May 2018 - 83
American Cinematographer - May 2018 - 84
American Cinematographer - May 2018 - 85
American Cinematographer - May 2018 - 86
American Cinematographer - May 2018 - 87
American Cinematographer - May 2018 - 88
American Cinematographer - May 2018 - Cover3
American Cinematographer - May 2018 - Cover4
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