American Cinematographer - July 2018 - 29

Unit photography by Jonathan Olley and John Wilson, courtesy of Lucasfilm Ltd.

T

he Star Wars saga hasn't shied away
from jumping around its own
timeline. Creator George Lucas'
prequels were set decades before
the original Star Wars films, while the
current "sequel trilogy," including last
year's The Last Jedi (AC Feb. '18), takes
place after both of those earlier trilogies.
Meanwhile, 2016's standalone Rogue
One: A Star Wars Story (AC Feb. '17) was
set in the days leading up to the events
of 1977's original Star Wars, aka A New
Hope (AC July '77). When it comes to
stories set "a long time ago in a galaxy
far, far away," always in motion is the
past - as Yoda might say.
With Solo: A Star Wars Story,
audiences are again taken back along the
timeline, in this case to witness the
formative years of Han Solo, the
beloved smuggler made famous through
Harrison Ford's portrayal in the first
three Star Wars films. Mining the genres
of Westerns and heist movies, Solo
presents the young scoundrel (now
played by Alden Ehrenreich) alongside
familiar characters Chewbacca the
Wookiee ( Joonas Suotamo) and Lando
Calrissian (Donald Glover), as well as
new personalities including Qi'Ra
(Emilia Clarke), Tobias Beckett
(Woody Harrelson), Dryden Vos (Paul
Bettany) and L3-37 (Phoebe WallerBridge).
Cinematographer
Bradford
Young, ASC - whose previous credits

Opposite: Years before he'll meet a wizened old Jedi and a wide-eyed farm boy on the desert
planet Tatooine, the young pilot Han Solo (Alden Ehrenreich) embraces life as an outlaw in the
feature Solo: A Star Wars Story. This page, top: Lando Calrissian (Donald Glover, center) rakes in
his winnings after another well-played game of sabacc. Above: Cinematographer Bradford
Young, ASC (left) discusses a scene on the planet Savareen with director Ron Howard.

include the features Middle of Nowhere
(AC Nov. '12), Mother of George (AC
April '13), Ain't Them Bodies Saints (AC
Sept. '13), Selma (AC Feb. '15) and
Arrival (AC Dec. '16) - was behind the
camera for Solo. Prior to joining the
production, he admits, "Star Wars wasn't
on my radar. In fact, I wasn't even aware
they were doing these spinoff films
when I first got a call from my agent
saying Lucasfilm was interested in
meeting. I finally came fully on board
after I met with [producers] Simon
www.ascmag.com

Emanuel and Allison Shearmur. Allison
was a big reason, because I loved her
spirit and respected the work she'd done.
I could tell that no matter what sort of
preconceived notions I had about big
studio films, those things might not
apply because she was around."
Shearmur passed away this past
January, before being able to see Solo to
its finish line. "It's a big loss now that
she's not with us anymore," says Young.
The cinematographer's concerns
were further allayed once he settled into
July 2018

29


http://www.ascmag.com

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

Contents
American Cinematographer - July 2018 - Cover1
American Cinematographer - July 2018 - Cover2
American Cinematographer - July 2018 - 1
American Cinematographer - July 2018 - 2
American Cinematographer - July 2018 - Contents
American Cinematographer - July 2018 - 4
American Cinematographer - July 2018 - 5
American Cinematographer - July 2018 - 6
American Cinematographer - July 2018 - 7
American Cinematographer - July 2018 - 8
American Cinematographer - July 2018 - 9
American Cinematographer - July 2018 - 10
American Cinematographer - July 2018 - 11
American Cinematographer - July 2018 - 12
American Cinematographer - July 2018 - 13
American Cinematographer - July 2018 - 14
American Cinematographer - July 2018 - 15
American Cinematographer - July 2018 - 16
American Cinematographer - July 2018 - 17
American Cinematographer - July 2018 - 18
American Cinematographer - July 2018 - 19
American Cinematographer - July 2018 - 20
American Cinematographer - July 2018 - 21
American Cinematographer - July 2018 - 22
American Cinematographer - July 2018 - 23
American Cinematographer - July 2018 - 24
American Cinematographer - July 2018 - 25
American Cinematographer - July 2018 - 26
American Cinematographer - July 2018 - 27
American Cinematographer - July 2018 - 28
American Cinematographer - July 2018 - 29
American Cinematographer - July 2018 - 30
American Cinematographer - July 2018 - 31
American Cinematographer - July 2018 - 32
American Cinematographer - July 2018 - 33
American Cinematographer - July 2018 - 34
American Cinematographer - July 2018 - 35
American Cinematographer - July 2018 - 36
American Cinematographer - July 2018 - 37
American Cinematographer - July 2018 - 38
American Cinematographer - July 2018 - 39
American Cinematographer - July 2018 - 40
American Cinematographer - July 2018 - 41
American Cinematographer - July 2018 - 42
American Cinematographer - July 2018 - 43
American Cinematographer - July 2018 - 44
American Cinematographer - July 2018 - 45
American Cinematographer - July 2018 - 46
American Cinematographer - July 2018 - 47
American Cinematographer - July 2018 - 48
American Cinematographer - July 2018 - 49
American Cinematographer - July 2018 - 50
American Cinematographer - July 2018 - 51
American Cinematographer - July 2018 - 52
American Cinematographer - July 2018 - 53
American Cinematographer - July 2018 - 54
American Cinematographer - July 2018 - 55
American Cinematographer - July 2018 - 56
American Cinematographer - July 2018 - 57
American Cinematographer - July 2018 - 58
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American Cinematographer - July 2018 - 84
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American Cinematographer - July 2018 - 88
American Cinematographer - July 2018 - Cover3
American Cinematographer - July 2018 - Cover4
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