American Cinematographer - February 2015 - 78

◗

British Vision
color choices for costumes. I had said I
didn't want a black overcoat for Bond,
and they gave him a dark blue one,
which is basically the same thing. There's
a shot of him sitting in a chair where I
had a 5K on his coat and a 1K on his
face, and you can barely see his bloody
coat!"
Prior to that time, Bond films had
traditionally been shot with anamorphic
lenses, but on Casino Royale Méheux
chose to work in the Super 35mm
format. He notes, "I chose Super 35
because [with the digital intermediate]
you no longer had to make an optical to
get an anamorphic print, and to my eyes
[the resulting print had] never looked
sharp and the blacks were often gray and
grainy. For that reason I shot in anamorphic all the time, until the DI came in. I
started with Super 35 on The Legend of
Zorro because Martin was always a bit
miffed that anamorphic lenses wouldn't
let us focus closer than three feet and the
zoom needed three times as much light.
I thought Super 35 would better suit the
way he works, and of course he loved it.
Nowadays anamorphic is coming back,
and the lenses aren't as limiting as they
were before."
Méheux's involvement with the
British Society of Cinematographers
stretches back many years; he sits on the
governing board and served two consecutive terms as president, between 2002
and 2006. "These societies allow cameramen to meet like-minded people, discuss
their challenges and share their knowledge," he says. "The ASC and the BSC
have always been in close cooperation;
we ask each other questions, offer advice,
and confer a lot on how to approach
things. It's good to have that meeting of
the minds."
When asked how he reacted to
the news of his ASC International
Award, Méheux confesses, "I was gobsmacked, to be honest. To know that all
those people sat in a room and agreed to
give it to me is really quite invigorating.
It's a terrific honor, and the only daunting aspect is that I have to make a speech
in front of 1,600 cinematographers and
crew on the night!"
●

From top: During
the production
of Around the
World in 80
Days, Méheux
measures the
light on Jackie
Chan, prepares a
sunset shot on
location in
Thailand, and
takes his position
behind the
camera on
location in Berlin.

78

February 2015

American Cinematographer



American Cinematographer - February 2015

Table of Contents for the Digital Edition of American Cinematographer - February 2015

Contents
American Cinematographer - February 2015 - Cover1
American Cinematographer - February 2015 - Cover2
American Cinematographer - February 2015 - 1
American Cinematographer - February 2015 - 2
American Cinematographer - February 2015 - Contents
American Cinematographer - February 2015 - 4
American Cinematographer - February 2015 - 5
American Cinematographer - February 2015 - 6
American Cinematographer - February 2015 - 7
American Cinematographer - February 2015 - 8
American Cinematographer - February 2015 - 9
American Cinematographer - February 2015 - 10
American Cinematographer - February 2015 - 11
American Cinematographer - February 2015 - 12
American Cinematographer - February 2015 - 13
American Cinematographer - February 2015 - 14
American Cinematographer - February 2015 - 14a
American Cinematographer - February 2015 - 14b
American Cinematographer - February 2015 - 15
American Cinematographer - February 2015 - 16
American Cinematographer - February 2015 - 17
American Cinematographer - February 2015 - 18
American Cinematographer - February 2015 - 19
American Cinematographer - February 2015 - 20
American Cinematographer - February 2015 - 21
American Cinematographer - February 2015 - 22
American Cinematographer - February 2015 - 23
American Cinematographer - February 2015 - 24
American Cinematographer - February 2015 - 25
American Cinematographer - February 2015 - 26
American Cinematographer - February 2015 - 27
American Cinematographer - February 2015 - 28
American Cinematographer - February 2015 - 29
American Cinematographer - February 2015 - 30
American Cinematographer - February 2015 - 31
American Cinematographer - February 2015 - 32
American Cinematographer - February 2015 - 33
American Cinematographer - February 2015 - 34
American Cinematographer - February 2015 - 35
American Cinematographer - February 2015 - 36
American Cinematographer - February 2015 - 37
American Cinematographer - February 2015 - 38
American Cinematographer - February 2015 - 39
American Cinematographer - February 2015 - 40
American Cinematographer - February 2015 - 41
American Cinematographer - February 2015 - 42
American Cinematographer - February 2015 - 43
American Cinematographer - February 2015 - 44
American Cinematographer - February 2015 - 45
American Cinematographer - February 2015 - 46
American Cinematographer - February 2015 - 47
American Cinematographer - February 2015 - 48
American Cinematographer - February 2015 - 49
American Cinematographer - February 2015 - 50
American Cinematographer - February 2015 - 51
American Cinematographer - February 2015 - 52
American Cinematographer - February 2015 - 53
American Cinematographer - February 2015 - 54
American Cinematographer - February 2015 - 55
American Cinematographer - February 2015 - 56
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American Cinematographer - February 2015 - 58
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American Cinematographer - February 2015 - 78
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American Cinematographer - February 2015 - 84
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American Cinematographer - February 2015 - 88
American Cinematographer - February 2015 - Cover3
American Cinematographer - February 2015 - Cover4
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