American Cinematographer - December 2008 - (Page 63)

“M y favorite ‘Steve moment’ happened on a location scout, as I tried to explain an exterior night scene and blocking to the crew,” recalls Lexi Alexander, director of Punisher: War Zone, referring to cinematographer Steve Gainer, ASC. “After I finished, the producers literally surrounded Steve, and I heard him say, ‘Okay, my director just told me that two actors are crossing the street here and another group is coming from the other direction, and I don’t think she was talking about blind people or invisible Ninjas, so yes, we will need to light this entire street.’ I laughed so hard I had to walk away. It really touched me because as a director, you fight so many damn battles that anyone who fights his own is a blessing.” It’s an appropriate anecdote given the sometimes-arduous nature of War Zone’s production. For Gainer, the rigors began well before prep, when the studio had to be convinced to hire him. Alexander had long been impressed by Gainer’s work, particularly on the feature Mysterious Skin (2004), and was keen to work with him, but none of the independent features he’d shot had come close to Punisher’s $40 million budget. “Lots of people said no, but I met with them over and over again, and one by one, they seemed to start liking me,” says Gainer. “And Lexi, ever the fighter, kept pushing for me.” The director notes, “As soon as I agreed to do War Zone, I knew Steve was the perfect guy to turn it into something special.” As with most film adaptations of comic books, there was a lot of pressure to be as faithful to the source material as possible. Created by writer Gerry Conway and artists John Romita Sr. and Ross Andru, “The Punisher” is Frank Castle (Ray Stevenson), an Images courtesy of Lionsgate and the filmmaker. Opposite and above: When the mob murders his family, Frank Castle (Ray Stevenson) seeks vengeance on all criminals as the ultra-violent antihero of Punisher: War Zone. Middle: The Punisher’s crusade pits him against Mafioso Billy Russoti (Dominic West), who, after a harrowing accident, is rechristened Jigsaw. Bottom: Cinematographer Steve Gainer, ASC wields his spot meter in his own crusade to give the film a bold look. American Cinematographer 63

Table of Contents Feed for the Digital Edition of American Cinematographer - December 2008

American Cinematographer - December 2008 Contents Editor’s Note Short Takes: True Blood Titles Tomorrow’s Technology Production Slate: Closer to Truth A High Price for Progress Rags to Riches 1-Man Riot Squad The State of the Art: An Update Post Focus: Deluxe New York New Products & Services International Marketplace Classified Ads Ad Index 2008 AC Index ASC Membership Roster Clubhouse News ASC Close-Up: Donald McAlpine

American Cinematographer - December 2008

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