American Cinematographer - August 2017 - 10

In May 2016, Dunkirk director Christopher Nolan paid a visit to
the ASC Clubhouse with his wife and producer, Emma Thomas,
and cinematographer Hoyte van Hoytema, ASC, FSF, NSC. The
trio mingled amiably with Society members and associates
before discussing their latest project during an enthusiastic
question-and-answer session. Beyond outlining strategies for
the ambitious production, they made a strong case for the
continued viability of film as a creative medium - a cause
Nolan has supported passionately over the course of his celebrated career.
With the July release of Dunkirk, Nolan, Thomas and van
Hoytema demonstrate the visual power of film with a go-bigor-go-home epic shot on a combination of 15-perf Imax 65mm
and 5-perf 65mm, and finished entirely in the photochemical realm. Nolan feels that the movie
can stake a claim to being "the highest-resolution feature film that has ever been made," while
also providing ample evidence of celluloid's additional merits. Although van Hoytema concedes
that the size of the 65mm cameras made his extensive use of handheld work a bit challenging,
he calls the added camera weight "an insignificant element when compared to the quality of
the images we produced."
Shooting in these formats on such a grand scale required a number of innovative
approaches, detailed by Michael Goldman in his main article on the show ("Great Escape," page
30), two sidebars, and bonus coverage posted on our newly redesigned website (which is now
accessible via two URLs: ascmag.com on the magazine side, and theasc.com for the Society).
On the Civil War-era picture The Beguiled, Philippe Le Sourd, AFC used the 35mm film
format to lend a painterly elegance to a hothouse drama that earned Sofia Coppola Best Director
honors at this year's Cannes Film Festival. Coppola's adaptation of the novel of the same name
- about an injured Union soldier taking refuge in a Confederate girls' boarding school - is the
second after Don Siegel's version in 1971. "Sofia wanted to take a more feminine approach,"
Le Sourd tells New York correspondent Iain Marcks ("Dark Hospitality," page 50). "The fact that
it was a woman director telling this story completely transformed the mood and feeling, and
brought a new essence to the film."
The old-Hollywood series The Last Tycoon, based on F. Scott Fitzgerald's famously unfinished novel, finds cinematographer Danny Moder and director Billy Ray mining the intrigue inherent to moviemaking during the 1930s - and working from scripts that evoke "how movies
began, how they evolved, how innovative the technology was, and who the revolutionary
thinkers were," as Moder relates to writer Jim Hemphill ("Classic Hollywood," page 42).
A Ghost Story, whose titular spirit is cheekily presented as a traditional Halloween figure
clad in a white sheet, uses a single-camera approach and melancholic compositions to lend its
spectral protagonist an eerie, contemplative presence. Cinematographer Andrew Droz Palermo
and director David Lowery provide their insights in Q&A interviews with managing editor Jon D.
Witmer ("Haunted House," page 58).
This month's special focus on drones, an increasingly popular tool for achieving dynamic
aerial perspectives, is showcased by several items in our new department, Shot Craft (page 16),
and in this month's New Products & Services section (page 72) - as well as in a Filmmakers'
Forum written by Gavin Garrison, a producer and cinematographer on the reality series Whale
Wars (page 68).

10

Stephen Pizzello
Editor-in-Chief and Publisher

Photo by Owen Roizman, ASC.

EDITOR'S NOTE


http://www.ascmag.com http://www.theasc.com

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

Contents
American Cinematographer - August 2017 - Intro
American Cinematographer - August 2017 - Cover1
American Cinematographer - August 2017 - Cover2
American Cinematographer - August 2017 - 1
American Cinematographer - August 2017 - 2
American Cinematographer - August 2017 - Contents
American Cinematographer - August 2017 - 4
American Cinematographer - August 2017 - 5
American Cinematographer - August 2017 - 6
American Cinematographer - August 2017 - 7
American Cinematographer - August 2017 - 8
American Cinematographer - August 2017 - 9
American Cinematographer - August 2017 - 10
American Cinematographer - August 2017 - 11
American Cinematographer - August 2017 - 12
American Cinematographer - August 2017 - 13
American Cinematographer - August 2017 - 14
American Cinematographer - August 2017 - 15
American Cinematographer - August 2017 - 16
American Cinematographer - August 2017 - 17
American Cinematographer - August 2017 - 18
American Cinematographer - August 2017 - 19
American Cinematographer - August 2017 - 20
American Cinematographer - August 2017 - 21
American Cinematographer - August 2017 - 22
American Cinematographer - August 2017 - 23
American Cinematographer - August 2017 - 24
American Cinematographer - August 2017 - 25
American Cinematographer - August 2017 - 26
American Cinematographer - August 2017 - 27
American Cinematographer - August 2017 - 28
American Cinematographer - August 2017 - 29
American Cinematographer - August 2017 - 30
American Cinematographer - August 2017 - 31
American Cinematographer - August 2017 - 32
American Cinematographer - August 2017 - 32a
American Cinematographer - August 2017 - 32b
American Cinematographer - August 2017 - 32c
American Cinematographer - August 2017 - 32d
American Cinematographer - August 2017 - 33
American Cinematographer - August 2017 - 34
American Cinematographer - August 2017 - 35
American Cinematographer - August 2017 - 36
American Cinematographer - August 2017 - 37
American Cinematographer - August 2017 - 38
American Cinematographer - August 2017 - 39
American Cinematographer - August 2017 - 40
American Cinematographer - August 2017 - 41
American Cinematographer - August 2017 - 42
American Cinematographer - August 2017 - 43
American Cinematographer - August 2017 - 44
American Cinematographer - August 2017 - 45
American Cinematographer - August 2017 - 46
American Cinematographer - August 2017 - 47
American Cinematographer - August 2017 - 48
American Cinematographer - August 2017 - 49
American Cinematographer - August 2017 - 50
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American Cinematographer - August 2017 - Cover3
American Cinematographer - August 2017 - Cover4
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