American Cinematographer - July 2017 - 29

Photos by Clay Enos, courtesy of Warner Bros. Pictures and RatPac-Dune Entertainment.

Hoping to bring an end
to the Great War and
foil the nefarious plans
of German General
Ludendorff (Danny
Huston, this page, top,
second from left) and
Dr. Maru (Elena Anaya,
top right), Amazonian
warrior-princess Diana
(Gal Gadot, opposite)
journeys from the
hidden island of
Themyscira to London
in the action adventure
Wonder Woman.
Below, from left: First
AD Tommy Gormley
(wearing blue shirt),
director Patty Jenkins
and cinematographer
Matthew Jensen, ASC
discuss a scene on the
beach.

between the Amazonians and the
Central Power troops ensues on the
island's shore, and Diana witnesses for
the first time the ravages of battle.
When the dust clears, Steve tells the
Amazonians about "the war to end all
wars" that is raging in the outside world.
Hearing Steve's tale, Diana
resolves to defend humanity against the
forces of Ares, whom she insists is at the
heart of the global conflict. She grabs
the island's Zeus-bequeathed God
Killer sword, as well as a shield; golden
Lasso of Truth; and red, gold and blue
uniform - accoutrements that effectively transform her into the superhero
Wonder Woman - and sails off to
London with Steve.
Diana poses as Steve's secretary -
adopting the surname "Prince" - and
meets his collaborators: expert interlocutor Sameer (Saïd Taghmaoui), sharpshooter Charlie (Ewen Bremner) and
soldier-for-hire Chief (Eugene Brave
Rock). Together they trek to the front
line to seek out and destroy a gas weapon
developed by German General
Ludendorff (Danny Huston) and the
masked Maru, aka Doctor Poison
(Elena Anaya). To Diana's mind, stopping Ludendorff is the key to ending the
horrible conflict and all others to follow.

A comic-book staple for 75 years,
Wonder Woman had been eyed for a
big-screen adaptation for nearly two
decades. And with its achievement,
Warner Bros. Pictures has not only
produced the character's big-screen
debut, but also the latest title in the DC
Extended Universe - following Man of
Steel, Batman v Superman: Dawn of
Justice (AC April '16) and Suicide Squad.
At the helm of Wonder Woman
was director Patty Jenkins, whose
enthusiasm for the character is unmistakable. "I loved Wonder Woman in a
www.theasc.com

clean and simple way, and felt that what
she stands for is very powerful," says
Jenkins, home in L.A. one day after
wrapping post. "She believes in beauty
and love - things that make her different from any other superhero. The
struggle for years was, 'What do we do
with Wonder Woman?' My answer was,
'What do you mean? Just do Wonder
Woman as an origin story. She's got a
legion of fans - let's do it.'"
Jenkins tapped Matthew Jensen,
ASC as her director of photography.
The cinematographer had shot Josh
July 2017

29



http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - July 2017

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
American Cinematographer - July 2017 - 8
American Cinematographer - July 2017 - 9
American Cinematographer - July 2017 - 10
American Cinematographer - July 2017 - 11
American Cinematographer - July 2017 - 12
American Cinematographer - July 2017 - 13
American Cinematographer - July 2017 - 14
American Cinematographer - July 2017 - 15
American Cinematographer - July 2017 - 16
American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
American Cinematographer - July 2017 - 21
American Cinematographer - July 2017 - 22
American Cinematographer - July 2017 - 23
American Cinematographer - July 2017 - 24
American Cinematographer - July 2017 - 25
American Cinematographer - July 2017 - 26
American Cinematographer - July 2017 - 27
American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
American Cinematographer - July 2017 - 32
American Cinematographer - July 2017 - 33
American Cinematographer - July 2017 - 34
American Cinematographer - July 2017 - 35
American Cinematographer - July 2017 - 36
American Cinematographer - July 2017 - 37
American Cinematographer - July 2017 - 38
American Cinematographer - July 2017 - 39
American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
American Cinematographer - July 2017 - 43
American Cinematographer - July 2017 - 44
American Cinematographer - July 2017 - 45
American Cinematographer - July 2017 - 46
American Cinematographer - July 2017 - 47
American Cinematographer - July 2017 - 48
American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
American Cinematographer - July 2017 - 51
American Cinematographer - July 2017 - 52
American Cinematographer - July 2017 - 53
American Cinematographer - July 2017 - 54
American Cinematographer - July 2017 - 55
American Cinematographer - July 2017 - 56
American Cinematographer - July 2017 - 57
American Cinematographer - July 2017 - 58
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American Cinematographer - July 2017 - 60
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American Cinematographer - July 2017 - 84
American Cinematographer - July 2017 - 85
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American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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