American Cinematographer - February 2009 - 42

Dead Reckoning long-form “graphic novel.” Given that legacy, Miller hesitated when he was first approached about a film version of The Spirit. “I took three minutes to say, ‘Absolutely not!’” he recalls. “Then I realized I couldn’t let anybody else touch it, that my understanding of the material was probably deeper than almost anybody’s. Then I was ready to direct the movie.” Taking a few cosmetic liberties, the film follows Eisner’s mask-, fedora- and red-tie-sporting hero from his origin as Denny Colt, an idealistic cop who becomes a vigilante when he wakes up, quite alive, after being murdered. The Spirit wages his two-fisted war on crime alongside Police Commissioner Dolan (Dan Lauria), and together, they go after the king of criminals, The Octopus (Samuel L. Jackson). The Spirit marks Miller and Pope’s first collaboration, but it was not the first time their paths had crossed. Pope, a longtime fan of Miller’s comics, explains, “I still have a comic of Frank’s that I bought when he did signings at [Los Angeles comic shop] Golden Apple in the Eighties. It’s been read so many times it’s totally worn out. When I got the call [for The Spirit], there was never any doubt; I had to do it.” Asked why he approached Pope, Miller cites the cinematographer’s work on Darkman (1990). “I thought that was one of the best superhero movies ever made,” he says. “It had a real pulp sensibility.” Likewise, The Spirit’s bigscreen adventure bears many a pulp hallmark, not least a supporting cast of femmes fatale. Borrowing freely from Eisner’s work, Miller’s screenplay incorporates Silken Floss (Scarlett Johansson), Sand Saref (Eva Mendes), Plaster of Paris (Paz Vega) and the Commissioner’s daughter, Ellen Dolan (Sarah Paulson). “Bill’s got a great eye for making women look beautiful,” says Sandau. “He’s very much a soft-light To capture The Spirit’s underwater encounter with Lorelei Rox (Jaime King), the filmmakers utilized a “dry-for-wet” technique that involved blasting the actors with air movers while recording at speeds of 200-400 fps with a Phantom HD highspeed camera. The water effect was further emphasized with Rosco light projectors suspended from Condors. 42 February 2009

American Cinematographer - February 2009

Table of Contents for the Digital Edition of American Cinematographer - February 2009

American Cinematographer - February 2009
Contents
Editor's Note
Short Takes: Circus
Production Slate: The International Reverte
2 Worlds in 3 Dimensions
Dead Reckoning
Embracing Anamorphic
Citizen of the World
Post Focus: Restoring Manhatta
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Suschitzky
American Cinematographer - February 2009 - American Cinematographer - February 2009
American Cinematographer - February 2009 - Cover2
American Cinematographer - February 2009 - 1
American Cinematographer - February 2009 - 2
American Cinematographer - February 2009 - Contents
American Cinematographer - February 2009 - 4
American Cinematographer - February 2009 - 5
American Cinematographer - February 2009 - 6
American Cinematographer - February 2009 - 7
American Cinematographer - February 2009 - Editor's Note
American Cinematographer - February 2009 - 9
American Cinematographer - February 2009 - Short Takes: Circus
American Cinematographer - February 2009 - 11
American Cinematographer - February 2009 - 12
American Cinematographer - February 2009 - 13
American Cinematographer - February 2009 - Production Slate: The International Reverte
American Cinematographer - February 2009 - 15
American Cinematographer - February 2009 - 16
American Cinematographer - February 2009 - 17
American Cinematographer - February 2009 - 18
American Cinematographer - February 2009 - 19
American Cinematographer - February 2009 - 20
American Cinematographer - February 2009 - 21
American Cinematographer - February 2009 - 22
American Cinematographer - February 2009 - 23
American Cinematographer - February 2009 - 24
American Cinematographer - February 2009 - 25
American Cinematographer - February 2009 - 2 Worlds in 3 Dimensions
American Cinematographer - February 2009 - 27
American Cinematographer - February 2009 - 28
American Cinematographer - February 2009 - 29
American Cinematographer - February 2009 - 30
American Cinematographer - February 2009 - 31
American Cinematographer - February 2009 - 32
American Cinematographer - February 2009 - 33
American Cinematographer - February 2009 - 34
American Cinematographer - February 2009 - 35
American Cinematographer - February 2009 - 36
American Cinematographer - February 2009 - 37
American Cinematographer - February 2009 - 38
American Cinematographer - February 2009 - 39
American Cinematographer - February 2009 - Dead Reckoning
American Cinematographer - February 2009 - 41
American Cinematographer - February 2009 - 42
American Cinematographer - February 2009 - 43
American Cinematographer - February 2009 - 44
American Cinematographer - February 2009 - 45
American Cinematographer - February 2009 - 46
American Cinematographer - February 2009 - 47
American Cinematographer - February 2009 - 48
American Cinematographer - February 2009 - 49
American Cinematographer - February 2009 - 50
American Cinematographer - February 2009 - 51
American Cinematographer - February 2009 - Embracing Anamorphic
American Cinematographer - February 2009 - 53
American Cinematographer - February 2009 - 54
American Cinematographer - February 2009 - 55
American Cinematographer - February 2009 - 56
American Cinematographer - February 2009 - 57
American Cinematographer - February 2009 - 58
American Cinematographer - February 2009 - 59
American Cinematographer - February 2009 - Citizen of the World
American Cinematographer - February 2009 - 61
American Cinematographer - February 2009 - 62
American Cinematographer - February 2009 - 63
American Cinematographer - February 2009 - 64
American Cinematographer - February 2009 - 65
American Cinematographer - February 2009 - 66
American Cinematographer - February 2009 - 67
American Cinematographer - February 2009 - Post Focus: Restoring Manhatta
American Cinematographer - February 2009 - 69
American Cinematographer - February 2009 - 70
American Cinematographer - February 2009 - 71
American Cinematographer - February 2009 - New Products & Services
American Cinematographer - February 2009 - 73
American Cinematographer - February 2009 - 74
American Cinematographer - February 2009 - 75
American Cinematographer - February 2009 - 76
American Cinematographer - February 2009 - 77
American Cinematographer - February 2009 - 78
American Cinematographer - February 2009 - 79
American Cinematographer - February 2009 - 80
American Cinematographer - February 2009 - 81
American Cinematographer - February 2009 - International Marketplace
American Cinematographer - February 2009 - Classified Ads
American Cinematographer - February 2009 - Ad Index
American Cinematographer - February 2009 - 85
American Cinematographer - February 2009 - Clubhouse News
American Cinematographer - February 2009 - 87
American Cinematographer - February 2009 - ASC Close-Up: Peter Suschitzky
American Cinematographer - February 2009 - Cover3
American Cinematographer - February 2009 - Cover4
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