American Cinematographer - February 2012 - 67
Waxman has worked with Spinotti several times as an assistant director, starting with Manhunter. He observes, “You spend so much time with people when you’re working on a show, and in a high-pressure situation you learn what kind of human beings they are. Dante is just a first-class person.” Spinotti has a reputation for promoting his crewmembers. Jay recalls the cameraman calling him when he was assembling a crew for Blink (1994), which would be shot in Chicago. “He said he needed an operator, and I started to suggest a number of good ones that I knew in Chicago,” Jay says. “But Dante stopped me and said, ‘Gary, I think you should be my operator.” Jay hesitated, and the next day Spinotti phoned him again. This time Jay accepted. Spinotti has enjoyed multipicture relationships with an eclectic mix of directors, including Mann, Garry Marshall, Curtis Hanson, Bruce Beresford, Michael Apted and Brett Ratner. “Dante juggles so many different kinds of films,” marvels John Bailey, ASC. “He doesn’t limit himself to a certain [genre] or a single kind of look or director.” Among the many honors Spinotti has received so far in his career are ASC Award nominations (for The Last of the Mohicans , L.A. Confidential and The Insider); Academy Award nominations and L.A. Film Critics Association Awards (for L.A. Confidential and The Insider); and BAFTA and BSC awards (for The Last of the Mohicans ). He received Camerimage’s Lifetime Achievement Award in 2009, and has twice won Italy’s Donatello Award (for La Leggenda del SantoBevitore and Il Segreto delbosco vecchio , both directed by Ermanno Olmi). “Dante embraced the American system without giving up his love and dedication to Italian film,” notes Bailey. “He has kept that cultural connection.” Spinotti agrees. “One of the lucky things in my working life is that I can go back and forth between Italy and the
ww.theasc.com w
Top photo by Jürgen Vollmer. Middle and bottom photos by Andrew Cooper, SMPSP.
Top: On location for True Colors (1991), Spinotti makes a point while director Herbert Ross (far right) observes. Middle: The cinematographer looks on as director Garry Marshall works with Al Pacino and Michelle Pfeiffer on Frankie & Johnny (1991). Bottom: Spinotti works with director Michael Apted on Nell (1994).
February 2012
67
http://ww.theasc.com
American Cinematographer - February 2012
Table of Contents for the Digital Edition of American Cinematographer - February 2012
American Cinematographer - February 2012
Contents
Editor’s Note
President’s Desk
Short Takes: NASA time-lapse footage of Earth
Production Slate: Extremely Loud and Incredibly Close • Act of Valor
Saving the Whales
High Stakes
A Very Bad Cop
Cinema, Italian Style
Filmmakers’ Forum: Hiro Narita, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - American Cinematographer - February 2012
American Cinematographer - February 2012 - Cover2
American Cinematographer - February 2012 - 1
American Cinematographer - February 2012 - 2
American Cinematographer - February 2012 - Contents
American Cinematographer - February 2012 - 4
American Cinematographer - February 2012 - 5
American Cinematographer - February 2012 - 6
American Cinematographer - February 2012 - 7
American Cinematographer - February 2012 - Editor’s Note
American Cinematographer - February 2012 - 9
American Cinematographer - February 2012 - President’s Desk
American Cinematographer - February 2012 - 11
American Cinematographer - February 2012 - Short Takes: NASA time-lapse footage of Earth
American Cinematographer - February 2012 - 13
American Cinematographer - February 2012 - 14
American Cinematographer - February 2012 - 15
American Cinematographer - February 2012 - 16
American Cinematographer - February 2012 - 17
American Cinematographer - February 2012 - Production Slate: Extremely Loud and Incredibly Close • Act of Valor
American Cinematographer - February 2012 - 19
American Cinematographer - February 2012 - 20
American Cinematographer - February 2012 - 21
American Cinematographer - February 2012 - 22
American Cinematographer - February 2012 - 23
American Cinematographer - February 2012 - 24
American Cinematographer - February 2012 - 25
American Cinematographer - February 2012 - 26
American Cinematographer - February 2012 - 27
American Cinematographer - February 2012 - 28
American Cinematographer - February 2012 - 29
American Cinematographer - February 2012 - Saving the Whales
American Cinematographer - February 2012 - 31
American Cinematographer - February 2012 - 32
American Cinematographer - February 2012 - 33
American Cinematographer - February 2012 - 34
American Cinematographer - February 2012 - 35
American Cinematographer - February 2012 - 36
American Cinematographer - February 2012 - 37
American Cinematographer - February 2012 - 38
American Cinematographer - February 2012 - 39
American Cinematographer - February 2012 - 40
American Cinematographer - February 2012 - 41
American Cinematographer - February 2012 - High Stakes
American Cinematographer - February 2012 - 43
American Cinematographer - February 2012 - 44
American Cinematographer - February 2012 - 45
American Cinematographer - February 2012 - 46
American Cinematographer - February 2012 - 47
American Cinematographer - February 2012 - 48
American Cinematographer - February 2012 - 49
American Cinematographer - February 2012 - 50
American Cinematographer - February 2012 - 51
American Cinematographer - February 2012 - 52
American Cinematographer - February 2012 - 53
American Cinematographer - February 2012 - A Very Bad Cop
American Cinematographer - February 2012 - 55
American Cinematographer - February 2012 - 56
American Cinematographer - February 2012 - 57
American Cinematographer - February 2012 - 58
American Cinematographer - February 2012 - 59
American Cinematographer - February 2012 - 60
American Cinematographer - February 2012 - 61
American Cinematographer - February 2012 - Cinema, Italian Style
American Cinematographer - February 2012 - 63
American Cinematographer - February 2012 - 64
American Cinematographer - February 2012 - 65
American Cinematographer - February 2012 - 66
American Cinematographer - February 2012 - 67
American Cinematographer - February 2012 - 68
American Cinematographer - February 2012 - 69
American Cinematographer - February 2012 - 70
American Cinematographer - February 2012 - 71
American Cinematographer - February 2012 - Filmmakers’ Forum: Hiro Narita, ASC
American Cinematographer - February 2012 - 73
American Cinematographer - February 2012 - 74
American Cinematographer - February 2012 - 75
American Cinematographer - February 2012 - New Products & Services
American Cinematographer - February 2012 - 77
American Cinematographer - February 2012 - 78
American Cinematographer - February 2012 - 79
American Cinematographer - February 2012 - 80
American Cinematographer - February 2012 - 81
American Cinematographer - February 2012 - International Marketplace
American Cinematographer - February 2012 - Classified Ads
American Cinematographer - February 2012 - Ad Index
American Cinematographer - February 2012 - 85
American Cinematographer - February 2012 - Clubhouse News
American Cinematographer - February 2012 - 87
American Cinematographer - February 2012 - ASC Close-Up: Roberto Schaefer
American Cinematographer - February 2012 - Cover3
American Cinematographer - February 2012 - Cover4
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