American Cinematographer - June 2018 - 53

Opposite:
Fireman Guy
Montag (Michael
B. Jordan) burns
a pile of
contraband in
director Ramin
Bahrani's
adaptation of
Ray Bradbury's
novel Fahrenheit
451. This page,
left: Montag
stands beside his
mentor, Capt.
Beatty (Michael
Shannon). Their
job as firemen is
to burn books
and any other
media that have
been outlawed
by the ruling
Ministry. Below:
Cinematographer
Kramer
Morgenthau,
ASC.

Unit photography by Michael Gibson, courtesy of HBO.

I

n the dystopian, near-future America
depicted in the HBO movie
Fahrenheit 451, books are verboten.
Civil war has left 8 million dead, and
a tech-based ruling Ministry looks to
squash divisiveness by also banning
movies, the arts and the free press -
anything that might promote a
contrasting viewpoint. All information
is now disseminated through a statecontrolled electronic network called the
Nine, and citizens are monitored
through a smart-home system called
Yuxie, which prescribes drinks and eyedrops that cloud people's memories and
keep them believing the Ministry's
propaganda. Firefighters are tasked with
starting fires rather than extinguishing
them; singing marching tunes, they
violently track down violators, burn
their books with flamethrowers, and
erase their online identities. The
punished, called "Eels," become
outcasts, unable to travel or access funds.
In Cleveland, fireman Guy
Montag (Michael B. Jordan) is being
groomed for promotion by his mentor,
Capt. Beatty (Michael Shannon), the
head of fire department 451 - the

number representing the temperature
at which paper burns. Privately,
Montag and Beatty are each obsessed
with the forbidden written word, and
in Montag's case this is amplified by his
interest in Clarisse McClellan (Sofia
Boutella), a literature-loving Eel who
nonetheless trades information about
book hoarders for favors from Beatty.
When one of McClellan's tips
leads to a tragic raid on an old woman
(Lynne Griffin), Montag can't help but
www.ascmag.com

be moved by the Eels' willingness to
sacrifice everything in defense of their
passion for books. His loyalties become
torn between Beatty and the Eels, the
latter of whom have devised a plan to
spread knowledge from all recorded
works and usher society out of its
collective darkness.
Based on author Ray Bradbury's
classic 1953 novel, the movie
was directed by Ramin Bahrani
and photographed by ASC member
June 2018

53


http://www.ascmag.com

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

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
American Cinematographer - June 2018 - 2
American Cinematographer - June 2018 - Contents
American Cinematographer - June 2018 - 4
American Cinematographer - June 2018 - 5
American Cinematographer - June 2018 - 6
American Cinematographer - June 2018 - 7
American Cinematographer - June 2018 - 8
American Cinematographer - June 2018 - 9
American Cinematographer - June 2018 - 10
American Cinematographer - June 2018 - 11
American Cinematographer - June 2018 - 12
American Cinematographer - June 2018 - 13
American Cinematographer - June 2018 - 14
American Cinematographer - June 2018 - 15
American Cinematographer - June 2018 - 16
American Cinematographer - June 2018 - 17
American Cinematographer - June 2018 - 18
American Cinematographer - June 2018 - 19
American Cinematographer - June 2018 - 20
American Cinematographer - June 2018 - 21
American Cinematographer - June 2018 - 22
American Cinematographer - June 2018 - 23
American Cinematographer - June 2018 - 24
American Cinematographer - June 2018 - 25
American Cinematographer - June 2018 - 26
American Cinematographer - June 2018 - 27
American Cinematographer - June 2018 - 28
American Cinematographer - June 2018 - 29
American Cinematographer - June 2018 - 30
American Cinematographer - June 2018 - 31
American Cinematographer - June 2018 - 32
American Cinematographer - June 2018 - 33
American Cinematographer - June 2018 - 34
American Cinematographer - June 2018 - 35
American Cinematographer - June 2018 - 36
American Cinematographer - June 2018 - 37
American Cinematographer - June 2018 - 38
American Cinematographer - June 2018 - 39
American Cinematographer - June 2018 - 40
American Cinematographer - June 2018 - 41
American Cinematographer - June 2018 - 42
American Cinematographer - June 2018 - 43
American Cinematographer - June 2018 - 44
American Cinematographer - June 2018 - 45
American Cinematographer - June 2018 - 46
American Cinematographer - June 2018 - 47
American Cinematographer - June 2018 - 48
American Cinematographer - June 2018 - 49
American Cinematographer - June 2018 - 50
American Cinematographer - June 2018 - 51
American Cinematographer - June 2018 - 52
American Cinematographer - June 2018 - 53
American Cinematographer - June 2018 - 54
American Cinematographer - June 2018 - 55
American Cinematographer - June 2018 - 56
American Cinematographer - June 2018 - 57
American Cinematographer - June 2018 - 58
American Cinematographer - June 2018 - 59
American Cinematographer - June 2018 - 60
American Cinematographer - June 2018 - 61
American Cinematographer - June 2018 - 62
American Cinematographer - June 2018 - 63
American Cinematographer - June 2018 - 64
American Cinematographer - June 2018 - 65
American Cinematographer - June 2018 - 66
American Cinematographer - June 2018 - 67
American Cinematographer - June 2018 - 68
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American Cinematographer - June 2018 - 70
American Cinematographer - June 2018 - 71
American Cinematographer - June 2018 - 72
American Cinematographer - June 2018 - 73
American Cinematographer - June 2018 - 74
American Cinematographer - June 2018 - 75
American Cinematographer - June 2018 - 76
American Cinematographer - June 2018 - 77
American Cinematographer - June 2018 - 78
American Cinematographer - June 2018 - 79
American Cinematographer - June 2018 - 80
American Cinematographer - June 2018 - 81
American Cinematographer - June 2018 - 82
American Cinematographer - June 2018 - 83
American Cinematographer - June 2018 - 84
American Cinematographer - June 2018 - 85
American Cinematographer - June 2018 - 86
American Cinematographer - June 2018 - 87
American Cinematographer - June 2018 - 88
American Cinematographer - June 2018 - 89
American Cinematographer - June 2018 - 90
American Cinematographer - June 2018 - 91
American Cinematographer - June 2018 - 92
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American Cinematographer - June 2018 - 94
American Cinematographer - June 2018 - 95
American Cinematographer - June 2018 - 96
American Cinematographer - June 2018 - 97
American Cinematographer - June 2018 - 98
American Cinematographer - June 2018 - 99
American Cinematographer - June 2018 - 100
American Cinematographer - June 2018 - 101
American Cinematographer - June 2018 - 102
American Cinematographer - June 2018 - 103
American Cinematographer - June 2018 - 104
American Cinematographer - June 2018 - 105
American Cinematographer - June 2018 - 106
American Cinematographer - June 2018 - 107
American Cinematographer - June 2018 - 108
American Cinematographer - June 2018 - 109
American Cinematographer - June 2018 - 110
American Cinematographer - June 2018 - 111
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American Cinematographer - June 2018 - 113
American Cinematographer - June 2018 - 114
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American Cinematographer - June 2018 - 118
American Cinematographer - June 2018 - 119
American Cinematographer - June 2018 - 120
American Cinematographer - June 2018 - 121
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American Cinematographer - June 2018 - 125
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American Cinematographer - June 2018 - 133
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American Cinematographer - June 2018 - 135
American Cinematographer - June 2018 - 136
American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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