American Cinematographer - July 2017 - 51

fractured heart. For Adams, this twin
achievement is just one aspect of the
show that sets it apart. "One of the first
bits of advice Mike Slovis gave me on
Breaking Bad was, 'Don't just find a cool
shot because it's a cool shot. Make sure
it also advances the story,'" says Adams.
"That philosophy drove Breaking Bad,
and it drives Saul as well. It's all about
the story, and Vince and Peter strive to
enable everyone to do their best work in
telling that story. That's what makes
working with them so special."
This spirit of collective creativity
inspires everyone on the set. In addition
to collaborating with crew who date
back to Breaking Bad, such as Litecky
and Husar, Adams considered it "an
absolute gift" to work with Donachie,
who joined Saul in Season 2. "Paul is
always thinking about the story and
what might best tell it visually. He finds
some of the greatest shots you've seen in
Saul - certainly in my work. Even
halfway through a scene, he'd come up

with an idea that was just fantastic, and
we'd find a way to work it in."
"Television is such a collaborative
medium," says Gilligan, "and when you
surround yourself with the best people,
allow them the freedom to offer their
opinions and then listen to them, more
often than not you wind up with a
better show. We and the writers work so
hard on these scripts, and we've got a
vision for the show in our mind's eye
that we want to translate to the screen as
pristinely as possible. To that end, our
scripts are very, very detailed - there is
probably more scene direction than
there is dialogue in an average script -
but we always give the cinematographer
and our other collaborators ample
opportunity to weigh in and make a
sequence better. And, of course, when
they weigh in, they do make the show
better.
"That's certainly the case with
Marshall," Gilligan continues. "He's
collaborative, yet he always has an opin-

ion. He won't force it on you, but he's
ready and willing to give it unvarnished
when you need to hear it - and quite
often, you do need to hear it as a director! He not only made my work look
better than I hoped it could look, he also
made my job easier by working so fast
and being so communicative. He was
nothing but value added to our series."
‚óŹ

TECHNICAL SPECS
1.78:1
Digital Capture
Red Weapon 6K, Epic Dragon;
Panasonic VariCam 35; Sony a7R II
Angenieux Optimo,
Arri/Zeiss Master Prime,
Century Series 2000 Periscope

51


http://www.kinoflo.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
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American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
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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
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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
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American Cinematographer - July 2017 - Cover3
American Cinematographer - July 2017 - Cover4
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