American Cinematographer - January 2020 - 10

CONTRIBUTORS
Rachael K. Bosley is a
freelance writer and a
former staff editor ("Lives
Under Siege," p. 52).

Jim Hemphill is a filmmaker
and freelance writer ("Dual
Nature," p. 78).

Jay Holben is a filmmaker
and an associate member
of the ASC (Shot Craft,
p. 14, "Immersive
Inspiration," p. 92).

Debra Kaufman is a
freelance writer (Short
Takes, p. 24).

Fred Schruers is a
freelance writer ("Wages of
Sin," p. 30; "Evoking The Irishman's Eras," p. 34; "Collaborator Spotlight: Gaffer Bill
O'Leary," p. 42; "Collaborator Spotlight: 1st AD David
Webb," p. 46).

Jon Silberg is a freelance
writer and publicist
("Truth to Light," p. 68;
"Designing a Film Look,"
p. 72).

EDITOR'S NOTE

This issue signals the start of the magazine's 100th anniversary,
which we'll be saluting throughout 2020. Our editorial plan
includes monthly installments of vintage content from various
decades of American Cinematographer, along with a special
emphasis on filmmaking aesthetics, creative collaborations, and
artistic philosophy.
The teamwork behind The Irishman is explored in coverage by veteran journalist Fred Schruers ("Wages of Sin," page
30), who strove to spotlight not only the creative interactions
between director Martin Scorsese and cinematographer
Rodrigo Prieto, ASC, AMC, but also the contributions from key
members of the project's extensive team: gaffer Bill O'Leary and
1st AD David Webb, as well as Harbor Picture Co.'s Matt Tomlinson, Elodie Ichter and Yvan Lucas, who handled the show's LUTs, dailies and color grading. The
result of their efforts is a compelling crime epic conveyed through memories steeped with
melancholy. "There are so many moments like that in the film, seeing what these men do and
not glorifying it at all," says Prieto. "Marty is able to see them as human beings - human beings
with struggles and issues and vulnerability. They're not just these killers who are all-powerful."
Roger Deakins, ASC, BSC has been as busy as ever, with two features premiering over the
past several months: The Goldfinch, adapted from Donna Tartt's bestselling novel, and 1917, a
World War I drama told in a single, unbroken shot. Rachael K. Bosley debriefed Deakins in a
detailed Q&A about both projects ("Lives Under Siege," page 52) - an interview that yielded
comments from one of his closest collaborators: his wife, James Ellis Deakins, who served as
digital-workflow consultant on both projects.
Ed Lachman, ASC renewed his partnership with director Todd Haynes on Dark Waters,
which details the true story of a legal battle between the DuPont chemical company and crusading attorney Rob Bilott (Mark Ruffalo), who pursued leads indicating that a community in West
Virginia had been endangered for decades by exposure to deadly chemicals. The narrative
follows Bilott's journey through his procedural research, pulling the audience along as the
lawyer makes discoveries. "One step leads to the next," Lachman tells Jon Silberg ("Truth to
Light," page 68), "so we are putting the puzzle together even if we don't know exactly where it's
all leading."
One of the Society's newest international members, Zhao Xiaoding, ASC, CNSC, was
behind the camera on Shadow, his 10th pairing with director Zhang Yimou. As Jim Hemphill
suggests in his coverage ("Dual Nature," page 78), "Shadow is perhaps the most stunning product of their collaboration yet, a combination of sweeping action and intimate character study
that brings the visual language of Chinese ink-brush painting to cinematic life."

***
I'm reluctantly compelled to report that the magazine's longtime managing editor, Jon
Witmer, recently departed his post for a new job as Panavision's "Director, Technical and
Creative Writing."
Jon was with AC for 12 years, and he was a truly outstanding and invaluable member of
the staff. In addition to his award-winning writing and editing skills, Mr. Witmer provided the
office with a calm, steady, sensible hand on the tiller, and everyone here at the magazine and
the ASC felt privileged to work alongside him. We wish Jon all the best in his new position, and
sincerely hope that his role at Panavision will keep him in our immediate orbit.
Stephen Pizzello
Editor-in-Chief and Publisher

Photo by Chris Pizzello.

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American Cinematographer - January 2020

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