American Cinematographer - December 2012 - 8

Editor’s Note
Last year, during an event at the ASC Clubhouse, I cornered my friend Roger Deakins, ASC, BSC, on the front lawn. “So, Roger, I hear you’re shooting the new James Bond movie with Sam Mendes,” I began casually. “How’s it going?” Not yet sensing my fanaticism for the 007 franchise, he maintained a relaxed mien. “Things are moving along,” he said. “Lots of locations, loads of action to coordinate. It’s a big production.” Like Scaramanga, I took my golden shot: “Well, I’ve been a Bond fan my entire life, and now my oldest son is obsessed. And we have a simple request: you’ve gotta make this movie COOL. If you can’t do it, nobody can! I’m counting on you, and so is Nicholas. He’s planning to wear a kid-size tux next Halloween, and his toy briefcase is stuffed with spy gadgets. You can’t let us down. Do it for the Empire!” Roger’s composure wavered slightly. “Well, er, there aren’t many gadgets in this one,” he said. “But I think Sam has a good handle on the material. We’ll do our best ….” His eyes began darting around as he searched for his wife, James, who invariably rescues him from this type of pickle. Alerted by the tiny homing beacon Roger apparently conceals in his wristwatch, she appeared within seconds. “Don’t let him off the hook, James,” I told her. “Remember, this is Bond we’re talking about!” She laughed, and then assured me her spouse had the situation under control. “Trust me, he knows the stakes!” I backed away, flashing Roger the “I’m watching you” gesture De Niro made famous in Meet the Fockers. Freed from my lunacy, he finally cracked a smile. Thankfully, Skyfall proves that the Deakins-Mendes pairing was an inspired choice. A compelling plot, well-executed action and a truly entertaining villain (embodied with arch élan by Javier Bardem) make this 007 adventure one of the best yet, and Roger’s elegant cinematography lends the picture an abundance of style. Our London correspondent, Mark Hope-Jones, declassifies Roger’s strategies in this month’s cover story (“MI6 Under Siege,” page 34). This issue also deconstructs the epic sweep of Anna Karenina, shot by Seamus McGarvey, ASC, BSC (“Ravishing Romance,” page 50), and Lincoln, shot by Janusz Kaminski (“Freedom Fighter,” page 66). While both films are rife with period detail, the former sends the camera soaring and the latter opts for more classical, tableau-style compositions. Respect for cinematographers and their art form is the raison d’etre of Plus Camerimage. Held annually in Poland, the event is the world’s premier cinematography festival, and this year’s showcase marks the 20th anniversary. We hope our pictorial tribute (“An A-Plus Event,” page 78) conveys the convivial atmosphere that always prevails, thanks to the event’s tireless organizers. On another front, we offer our hearty congratulations to contributing writer Michael Goldman for the publication of his book Clint Eastwood: Master Filmmaker at Work (Abrams). Authorized by Eastwood, the 240-page book covers all 32 of the films he has directed and is illustrated with unit stills, key art, production-design sketches and film frames. Included are interviews with Eastwood and many of his collaborators, providing an excellent retrospective of a maverick filmmaker whose methods have proven very influential.

Stephen Pizzello Executive Editor
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Photo by Owen Roizman, ASC.

American Cinematographer - December 2012

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