American Cinematographer - December 2007 - 8

NOW IN A NEW LOCATION! Editor’s Note he late Laszlo Kovacs, ASC made an impression on everyone he met and, through his films, on millions he never knew personally. Affable, humble and eminently approachable, Laszlo brought his wisdom and good humor to every film he shot. His remarkable career truly spanned the gamut, encompassing nobudget exploitation quickies, influential indies and polished Hollywood projects. His passing on July 22 got me thinking about some of the lessons I’d learned from the films he helped shape. To wit: T Call us or visit our web site to see our specialty H2O products and to find out where you can get HydroFlex equipment and accessories worldwide. WATERTIGHT SOLUTIONS 301 E. El Segundo Blvd. El Segundo, CA 90245 Tel: 31 0/301-8187 Fax: 310/821-9886 www.hydroflex.com • When attending carnivals, beware of strippers, gypsies and zombies (The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies, 1963). • While you’re at it, watch out for topless dancers wielding garden tools (Mantis in Lace, 1968). • It’s probably not the best idea to hang out with biker gangs (Hell’s Angels on Wheels, 1967; The Savage Seven, 1968). • Mad scientists will always try to revive the Third Reich (A Man Called Dagger, 1967). • It’s really, really fun to get high with Jack Nicholson (Psych-Out, 1968). • Question authority and ignorance, but be aware that authority and ignorance often win (Easy Rider, 1969). • Make the most of any talent or potential you possess (Five Easy Pieces, 1970). • Doing business with your brother can be risky (The King of Marvin Gardens, 1972). • Sometimes you should just give in to the lunacy of love (What’s Up, Doc? 1972). • Sometimes it’s best not to give in to the lunacy of love (New York, New York, 1977) • Hairdressers know everyone’s secrets (Shampoo, 1975). • There’s a downside to fame and fortune (Frances, 1982). • In times of crisis, never, ever think about the Stay Puft Marshmallow Man (Ghostbusters, 1984). • Appearances can be deceiving (Mask, 1985). • Foolish romantic gestures occasionally pay off (Say Anything 1989). • Cloning can be useful (Multiplicity, 1996). • Don’t ignore true love until the last minute (My Best Friend’s Wedding, 1997). Hopefully, this somewhat irreverent list (which probably would have provoked Laszlo’s throaty, knowing chuckle) serves to emphasize the man’s range and versatility. Each film he shot benefits from what Dennis Hopper calls “that Laszlo magic,” an emotional and intellectual subtext that became his subtle signature. Like everyone, I appreciate the headier classics like Easy Rider and Five Easy Pieces, but I hold a special place in my heart for the cartoonish lunacy of What’s Up, Doc?, which I’ve probably watched at least once a year since I was 5 years old. If you’re having a bad day, or even if you’re not, it will always put a smile on your face. (To quote the esteemed Professor Larrabee, it’s F-U-N.) Laszlo’s presence is sorely missed, but we hope our heartfelt tribute (“Promise Fulfilled,” page 72) will provide comfort and inspiration to those who knew and loved him. This issue’s featured films further emphasize the gift of good cinema. Seamus McGarvey, BSC offers his thoughts on the stunningly shot period drama Atonement (“Irretrievable Deeds,” page 32); Harris Savides, ASC analyzes his work on the 1970s-inspired crime thriller American Gangster (“Blood on the Streets,” page 48); Henry Braham, BSC reveals his creative approach to the fanciful adventure The Golden Compass (“Fantastic Voyage,” page 60); Ron Fortunato, ASC discusses his hidef imagery in Before the Devil Knows You’re Dead (“A Crime That Doesn’t Pay,” page 16); and Jonathon Cliff details the media-driven perspectives he brought to Redacted (“War and Truth,” page 22). I’m sure Laszlo would have enjoyed all of them. Stephen Pizzello Executive Editor 8 Photo by Douglas Kirkland.

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American Cinematographer - December 2007

Table of Contents for the Digital Edition of American Cinematographer - December 2007