American Cinematographer - June 2011 - 64
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Tortured Souls
little Eyemo shooting back at Bobby’s face, so it was the equivalent of a handheld shot,” says Chapman. “As he advanced and punched, the camera went with him. You can feel him swinging, and you see enough of his shoulders to know he’s punching, but you can’t see the straps.” There is also a noteworthy Steadicam shot — the only one in the film. It begins with LaMotta warming up with his brother (Joe Pesci) in an arena’s dressing room, “and then the camera follows him all the way through the corridors under the ring and up the stairs, and then the camera lets him past and goes behind him,” says Chapman. “Everyone’s looking at him, and at that point the Steadicam guy stepped onto a crane that lifted him up for the big reveal of the arena. We tried to do another Steadicam shot in the ring, but we scrubbed it after lunch because it wasn’t precise enough.” For most of the film, the filmmakers followed the same wide-lens strategy they’d applied on Taxi Driver. There were exceptions, however. “One scene in Raging Bull was done with long lenses, as we shot with flames underneath the lens so there would be ripples [of heat] coming up across the frame,” Chapman recalls. “The second Sugar Ray fight was also shot with longer lenses because we wanted to isolate the fighters — by that time, you didn’t need the social context so much. We just wanted them to be spectacular opponents, so we used long lenses. “If Taxi Driver is a werewolf movie, then Raging Bull is an opera, and the fights are the soaring, wonderful arias, and they’re laid out with enormous precision to be just that,” he adds. But, as with Taxi Driver, “there are visual themes that emerged only later, and I don’t think we had them in mind at the time.” For example, Chapman
Above: Chapman discusses one of Raging Bull ’s poolside shots with De Niro and Scorsese. Below: The crew prepares to film De Niro behind the wheel.
64
June 2011
American Cinematographer
American Cinematographer - June 2011
Table of Contents for the Digital Edition of American Cinematographer - June 2011
American Cinematographer - June 2011
Contents
Editor’s Note
President’s Desk
Short Takes: TV on the Radio’s “Will Do”
Production Slate: The Mill & The Cross • Last Man Standing
Scalawags in Stereo
Hammer of the Gods
Tortured Souls
Decoding Digital Imagers: Part 2
Post Focus: Highlights from NAB
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Dean Semler
American Cinematographer - June 2011 - American Cinematographer - June 2011
American Cinematographer - June 2011 - Cover2
American Cinematographer - June 2011 - 1
American Cinematographer - June 2011 - 2
American Cinematographer - June 2011 - Contents
American Cinematographer - June 2011 - 4
American Cinematographer - June 2011 - 5
American Cinematographer - June 2011 - 6
American Cinematographer - June 2011 - 7
American Cinematographer - June 2011 - Editor’s Note
American Cinematographer - June 2011 - 9
American Cinematographer - June 2011 - President’s Desk
American Cinematographer - June 2011 - 11
American Cinematographer - June 2011 - Short Takes: TV on the Radio’s “Will Do”
American Cinematographer - June 2011 - 13
American Cinematographer - June 2011 - 14
American Cinematographer - June 2011 - 15
American Cinematographer - June 2011 - Production Slate: The Mill & The Cross • Last Man Standing
American Cinematographer - June 2011 - 17
American Cinematographer - June 2011 - 18
American Cinematographer - June 2011 - 19
American Cinematographer - June 2011 - 20
American Cinematographer - June 2011 - 21
American Cinematographer - June 2011 - 22
American Cinematographer - June 2011 - 23
American Cinematographer - June 2011 - 24
American Cinematographer - June 2011 - 25
American Cinematographer - June 2011 - Scalawags in Stereo
American Cinematographer - June 2011 - 27
American Cinematographer - June 2011 - 28
American Cinematographer - June 2011 - 29
American Cinematographer - June 2011 - 30
American Cinematographer - June 2011 - 31
American Cinematographer - June 2011 - 32
American Cinematographer - June 2011 - 33
American Cinematographer - June 2011 - 34
American Cinematographer - June 2011 - 35
American Cinematographer - June 2011 - 36
American Cinematographer - June 2011 - 37
American Cinematographer - June 2011 - 38
American Cinematographer - June 2011 - 39
American Cinematographer - June 2011 - Hammer of the Gods
American Cinematographer - June 2011 - 41
American Cinematographer - June 2011 - 42
American Cinematographer - June 2011 - 43
American Cinematographer - June 2011 - 44
American Cinematographer - June 2011 - 45
American Cinematographer - June 2011 - 46
American Cinematographer - June 2011 - 47
American Cinematographer - June 2011 - 48
American Cinematographer - June 2011 - 49
American Cinematographer - June 2011 - 50
American Cinematographer - June 2011 - 51
American Cinematographer - June 2011 - 52
American Cinematographer - June 2011 - 53
American Cinematographer - June 2011 - 54
American Cinematographer - June 2011 - 55
American Cinematographer - June 2011 - Tortured Souls
American Cinematographer - June 2011 - 57
American Cinematographer - June 2011 - 58
American Cinematographer - June 2011 - 59
American Cinematographer - June 2011 - 60
American Cinematographer - June 2011 - 61
American Cinematographer - June 2011 - 62
American Cinematographer - June 2011 - 63
American Cinematographer - June 2011 - 64
American Cinematographer - June 2011 - 65
American Cinematographer - June 2011 - 66
American Cinematographer - June 2011 - 67
American Cinematographer - June 2011 - Decoding Digital Imagers: Part 2
American Cinematographer - June 2011 - 69
American Cinematographer - June 2011 - 70
American Cinematographer - June 2011 - 71
American Cinematographer - June 2011 - 72
American Cinematographer - June 2011 - 73
American Cinematographer - June 2011 - 74
American Cinematographer - June 2011 - 75
American Cinematographer - June 2011 - 76
American Cinematographer - June 2011 - 77
American Cinematographer - June 2011 - 78
American Cinematographer - June 2011 - 79
American Cinematographer - June 2011 - Post Focus: Highlights from NAB
American Cinematographer - June 2011 - 81
American Cinematographer - June 2011 - 82
American Cinematographer - June 2011 - 83
American Cinematographer - June 2011 - 84
American Cinematographer - June 2011 - 85
American Cinematographer - June 2011 - 86
American Cinematographer - June 2011 - 87
American Cinematographer - June 2011 - New Products & Services
American Cinematographer - June 2011 - 89
American Cinematographer - June 2011 - 90
American Cinematographer - June 2011 - 91
American Cinematographer - June 2011 - 92
American Cinematographer - June 2011 - 93
American Cinematographer - June 2011 - 94
American Cinematographer - June 2011 - 95
American Cinematographer - June 2011 - 96
American Cinematographer - June 2011 - 97
American Cinematographer - June 2011 - 98
American Cinematographer - June 2011 - 99
American Cinematographer - June 2011 - International Marketplace
American Cinematographer - June 2011 - Classified Ads
American Cinematographer - June 2011 - Ad Index
American Cinematographer - June 2011 - 103
American Cinematographer - June 2011 - ASC Membership Roster
American Cinematographer - June 2011 - 105
American Cinematographer - June 2011 - Clubhouse News
American Cinematographer - June 2011 - 107
American Cinematographer - June 2011 - ASC Close-Up: Dean Semler
American Cinematographer - June 2011 - Cover3
American Cinematographer - June 2011 - Cover4
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