American Cinematographer - February 2017 - 56

◗

Masterful Vision
Ohio University's film program, which
was run at the time by famed filmmaker
and cinema historian Joseph L.
Anderson. While studying Italian
neorealism and Vittorio De Sica's
deceptively simple Umberto D., shot by
G.R. Aldo, something connected for
Lachman. "It was told entirely through
the construction of images," he says of
the film, which has very little dialogue.
"I was studying studio art, and the idea
that you could convey such a powerful
story through images really enticed me."
While writing his thesis on director Bernardo Bertolucci's Before the
Revolution, he attended a press screening of Bertolucci's The Spider's
Stratagem, where he met the director.
"Bertolucci was so intrigued with my
knowing his early work that he invited
me that evening to join him in his box
for the New York Film Festival premiere
of The Conformist," the cinematographer
recalls. "When it was over, he turned to
me and asked me what I thought. I
nearly fell out of the box!"
After graduating, Lachman
began shooting and operating on documentaries. He operated for Albert and
David Maysles on Christo's Valley
Curtain and Grey Gardens, and for
Werner Herzog on several documentaries, including the German director's
first film partially shot in America,
Stroszek. He photographed Wim
Wenders' Tokyo-Ga, an exploration
about Japanese filmmaker Yasujiro Ozu
and his themes about the loss of family
and culture in post-World War II Japan.
He's continued to shoot and direct
documentaries in between narrative
projects throughout his career.
As a young filmmaker in the New
York City of the late 1970s, Lachman
had the opportunity to work with some
of the era's foremost directors of
photography, either operating or shooting second unit. He operated a second
camera for Robby Müller, NSC, BVK
on the U.S. portion of Wenders' The
American Friend. He worked with Sven
Nykvist, ASC on the crime drama King
of the Gypsies for director Frank Pierson,
and operated on Hurricane for director

Top: Mitch Dubin
(left), Lachman
and Scott Stern on
the set of Les
Petites Guerres.
Middle, from left:
Madonna, future
ASC member
Francis Kenny,
Dubin, Lachman
and Susan
Seidelman on the
set of Desperately
Seeking Susan.
Below: Dubin and
Lachman pose
with the subject of
the documentary
Mother Teresa.

56

February 2017

American Cinematographer



American Cinematographer - February 2017

Table of Contents for the Digital Edition of American Cinematographer - February 2017

Contents
American Cinematographer - February 2017 - Cover1
American Cinematographer - February 2017 - Cover2
American Cinematographer - February 2017 - 1
American Cinematographer - February 2017 - 2
American Cinematographer - February 2017 - Contents
American Cinematographer - February 2017 - 4
American Cinematographer - February 2017 - 5
American Cinematographer - February 2017 - 6
American Cinematographer - February 2017 - 7
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American Cinematographer - February 2017 - 28
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American Cinematographer - February 2017 - 33
American Cinematographer - February 2017 - 34
American Cinematographer - February 2017 - 35
American Cinematographer - February 2017 - 36
American Cinematographer - February 2017 - A
American Cinematographer - February 2017 - B
American Cinematographer - February 2017 - 37
American Cinematographer - February 2017 - 38
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American Cinematographer - February 2017 - 40
American Cinematographer - February 2017 - 41
American Cinematographer - February 2017 - 42
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American Cinematographer - February 2017 - 49
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American Cinematographer - February 2017 - 52
American Cinematographer - February 2017 - 53
American Cinematographer - February 2017 - I1
American Cinematographer - February 2017 - I2
American Cinematographer - February 2017 - I3
American Cinematographer - February 2017 - I4
American Cinematographer - February 2017 - I5
American Cinematographer - February 2017 - I6
American Cinematographer - February 2017 - 54
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American Cinematographer - February 2017 - 56
American Cinematographer - February 2017 - 57
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