American Cinematographer - July 2013 - 33

Photos by Reiner Bajo, courtesy of Sony Pictures Entertainment. Drawings by Christine Chu and Marco Venditto, courtesy of gaffer Jean Courteau and rigging gaffer Gilles Fortier.Photos by
Zade Rosenthal, SMPSP, courtesy of Paramount Pictures.

Opposite: Police
officer John Cale
(Channing
Tatum) finds
himself fighting
to protect the
life of the
president (Jamie
Foxx) after
militants attack
the White House
in White House
Down, directed
by Roland
Emmerich and
shot by Anna
Foerster, ASC.
This page, top:
The invaders
search a tunnel
for President
Sawyer. Bottom:
Foerster with
Emmerich on
set.

we talked about it, the more interested
she became, and eventually, she
committed. And once Anna commits,
all you can say is, ‘Wow!’”
“Before Anonymous, I had almost
turned my back on camera work [in
favor of directing] because I wasn’t sure
where I fell as a cinematographer — I
had all this second-unit and visualeffects work, but I wanted to do live
action, and there was the usual apprehension from producers about taking a
leap with someone who was not [an
established cinematographer],” says
Foerster. “But then Roland asked me to
shoot Anonymous, and it was an incredible experience. When we began
discussing White House Down, I became
intrigued by the possibility of shooting
an action movie without serving all the
usual visual clichés.”
White House Down details a paramilitary assault on the White House
and the efforts of a lone policeman
(Channing Tatum) to protect the president ( Jamie Foxx) and end the crisis.
According to Emmerich, what Foerster
brought to the project, among other
things, were a methodology for creating

realistic exterior light on massive sets
built onstage (at Mel’s La Cité du
Cinéma in Montreal), a unique
approach to solving problems, and an
almost obsessive devotion to shooting
most of the picture on an ultra-wide
lens. “Anna introduced me to the short
Arri [LWZ.2 15.5mm-45mm T2.6]
zoom on Anonymous, and it has been
www.theasc.com

my favorite lens ever since,” says the
director. “We shot almost all of White
House Down with it, and it enabled us to
show the ceilings and the architecture of
the White House sets, which were very
elaborate. It can be tricky to light a
room so you can shoot that way, but
Anna used mirrors and other tricks to
make it happen.”
➣
July 2013

33



http://www.theasc.com

American Cinematographer - July 2013

Table of Contents for the Digital Edition of American Cinematographer - July 2013

American Cinematographer - July 2013
Contents
Editor’s Note
President’s Desk
Short Takes: Dreamland
Production Slate: Laurence Anyways • Post Tenebras Lux
Prime Target
Wild Planet
An Indie Twist on Shakespeare
Tournament of Death
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Don Burgess
American Cinematographer - July 2013 - American Cinematographer - July 2013
American Cinematographer - July 2013 - Cover2
American Cinematographer - July 2013 - 1
American Cinematographer - July 2013 - 2
American Cinematographer - July 2013 - Contents
American Cinematographer - July 2013 - 4
American Cinematographer - July 2013 - 5
American Cinematographer - July 2013 - 6
American Cinematographer - July 2013 - 7
American Cinematographer - July 2013 - 8
American Cinematographer - July 2013 - 9
American Cinematographer - July 2013 - Editor’s Note
American Cinematographer - July 2013 - 11
American Cinematographer - July 2013 - President’s Desk
American Cinematographer - July 2013 - 13
American Cinematographer - July 2013 - Short Takes: Dreamland
American Cinematographer - July 2013 - 15
American Cinematographer - July 2013 - 16
American Cinematographer - July 2013 - 17
American Cinematographer - July 2013 - 18
American Cinematographer - July 2013 - 19
American Cinematographer - July 2013 - Production Slate: Laurence Anyways • Post Tenebras Lux
American Cinematographer - July 2013 - 21
American Cinematographer - July 2013 - 22
American Cinematographer - July 2013 - 23
American Cinematographer - July 2013 - 24
American Cinematographer - July 2013 - 25
American Cinematographer - July 2013 - 26
American Cinematographer - July 2013 - 27
American Cinematographer - July 2013 - 28
American Cinematographer - July 2013 - 29
American Cinematographer - July 2013 - 30
American Cinematographer - July 2013 - 31
American Cinematographer - July 2013 - Prime Target
American Cinematographer - July 2013 - 33
American Cinematographer - July 2013 - 34
American Cinematographer - July 2013 - 35
American Cinematographer - July 2013 - 36
American Cinematographer - July 2013 - 37
American Cinematographer - July 2013 - 38
American Cinematographer - July 2013 - 39
American Cinematographer - July 2013 - 40
American Cinematographer - July 2013 - 41
American Cinematographer - July 2013 - 42
American Cinematographer - July 2013 - 43
American Cinematographer - July 2013 - Wild Planet
American Cinematographer - July 2013 - 45
American Cinematographer - July 2013 - 46
American Cinematographer - July 2013 - 47
American Cinematographer - July 2013 - 48
American Cinematographer - July 2013 - 49
American Cinematographer - July 2013 - 50
American Cinematographer - July 2013 - 51
American Cinematographer - July 2013 - 52
American Cinematographer - July 2013 - 53
American Cinematographer - July 2013 - 54
American Cinematographer - July 2013 - 55
American Cinematographer - July 2013 - An Indie Twist on Shakespeare
American Cinematographer - July 2013 - 57
American Cinematographer - July 2013 - 58
American Cinematographer - July 2013 - 59
American Cinematographer - July 2013 - 60
American Cinematographer - July 2013 - 61
American Cinematographer - July 2013 - 62
American Cinematographer - July 2013 - 63
American Cinematographer - July 2013 - Tournament of Death
American Cinematographer - July 2013 - 65
American Cinematographer - July 2013 - 66
American Cinematographer - July 2013 - 67
American Cinematographer - July 2013 - 68
American Cinematographer - July 2013 - 69
American Cinematographer - July 2013 - 70
American Cinematographer - July 2013 - 71
American Cinematographer - July 2013 - 72
American Cinematographer - July 2013 - 73
American Cinematographer - July 2013 - 74
American Cinematographer - July 2013 - 75
American Cinematographer - July 2013 - New Products & Services
American Cinematographer - July 2013 - 77
American Cinematographer - July 2013 - 78
American Cinematographer - July 2013 - 79
American Cinematographer - July 2013 - 80
American Cinematographer - July 2013 - 81
American Cinematographer - July 2013 - International Marketplace
American Cinematographer - July 2013 - Classified Ads
American Cinematographer - July 2013 - Ad Index
American Cinematographer - July 2013 - 85
American Cinematographer - July 2013 - Clubhouse News
American Cinematographer - July 2013 - 87
American Cinematographer - July 2013 - ASC Close-Up: Don Burgess
American Cinematographer - July 2013 - Cover3
American Cinematographer - July 2013 - Cover4
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