American Cinematographer - February 2012 - 69
“It took two or three projects before Dante looked at me and said, ‘You might have a good idea.’ That was the greatest feeling. Now we not only work together, we are also good friends.” Colorist and ASC associate member Stefan Sonnenfeld is another close collaborator. “Dante brings all of his life experiences to his work and is always pushing himself to do innovative and creative things,” he says. “He always wants to try something new, but only if it’s right for the project. He uses these hilarious analogies to express how he imagines the shot working out — he’ll talk about some good Italian cooking with really great ingredients that make the dish special, and that’s how he imagines the shot.”
“I have never taken a job because it would be a good step for my career.”
Top and middle photos by Merrick Morton, SMPSP. Bottom photo by Frank Connor.
Marshall, who directed Spinotti’s first studio feature, Beaches (1988), says the cinematographer’s sense of humor makes working with him a pleasure. “I kid around a lot on set, and Dante gets my jokes and gags. When I was interviewing cinematographers for Beaches, he had been in the States for less than two years, and people told me he couldn’t speak good English, but I didn’t like anybody else. There was a lot of miming on that set!” Spinotti is the first to admit that the initial preproduction tests of Bette Midler didn’t go well. “Bette is a fabulous person, and we talked about it. [I happened to be in] a bookstore and saw a book titled How to LightBeautiful Women. It was intended for still photographers, but I bought it and learned
ww.theasc.com w
Top: Spinotti and director Curtis Hanson share a laugh on the set of L.A. Confidential (1997). Middle: The cinematographer checks the light on LAPD smoothie Jack Vincennes (Kevin Spacey). Bottom: Hanson and Spinotti together again on Wonder Boys (2000).
February 2012
69
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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