American Cinematographer - February 2018 - 56

◗

Vision Accomplished

Above: Director
Jim Sharman (left)
and Boyd on the
set of Summer of
Secrets. Top right,
from left: Boyd,
focus puller David
Burr, camera
operator - and
future ASC and
ACS member -
John Seale, and 1st
AD Mark Egerton
on the set of
Gallipoli. Right,
from left: First AC
Peter Menzies Jr.,
Boyd and Weir on
the set of The Year
of Living
Dangerously.

shoot. He bought himself a 16mm
Bolex, and on weekends he started freelancing for Seven Network - aka
Channel Seven - in Melbourne. Soon
he was shooting news there full time;
covering a plane crash that killed two
young men, however, turned him off to
"shooting life in the raw," he says. He
moved to Sydney and took a job working on documentaries and commercials
at Supreme Studios. There he met
future ASC and ACS member Peter
James, who became a lifelong friend.
"Russ was 19 when he first came
here - I was 15 or 16 - and he already
56

February 2018

had been shooting and getting good
reviews for his work," recalls James,
speaking from his home in Australia.
"He was a cameraman in his own right!
It was very impressive. He was unpretentious, very down-to-earth - and he
hasn't changed a whit in all these years.
He's still the same sweet guy, extremely
modest and humble. When you look at
his films, you can't imagine them being
photographed any other way; the cinematography is so sympathetic to the
script and story, the actors and subject.
I'd come out of one of his films and say,
'Oh, damn! He's done it again.'"
American Cinematographer

Boyd spent five years at Supreme
before moving to Robert Bruning's
Gemini Productions to shoot 30- and
60-minute dramas. He left when a
friend, Michael Thornhill, asked him
to shoot his directorial feature
debut, Between Wars. Shot in 1974,
the film earned Boyd the ACS
Cinematographer of the Year award. He
received the honor again in 1982 for
Weir's feature Gallipoli, and was
inducted into the ACS Hall of Fame in
1998.
It was Boyd's work on Between
Wars, particularly the day-exterior
scenes, that caught the attention of
Weir, who was looking for a cinematographer to shoot Picnic at Hanging Rock.
"I loved the book on which the movie
was based," Weir tells AC. "But part of
its power lay in the fact it had no ending.
Girls disappear on a St. Valentine's Day
picnic and are never seen again. The
ending gave the story its uniqueness, but
also its danger, because we had to set up
such a powerful mood that the audience
would not want a conventional 'the
butler did it' ending. And to do that I
needed Russell and his bag of tricks.
"The movie required more than
just beautiful photography," Weir
continues. "There needed to be a power
behind the images. We needed to put a
spell on the audience, as it were. To
achieve that, Russell experimented with
various filters and nets. I remember he



Table of Contents for the Digital Edition of American Cinematographer - February 2018

Contents
American Cinematographer - February 2018 - Sponsor
American Cinematographer - February 2018 - Cover1
American Cinematographer - February 2018 - Cover2
American Cinematographer - February 2018 - 1
American Cinematographer - February 2018 - 2
American Cinematographer - February 2018 - Contents
American Cinematographer - February 2018 - 4
American Cinematographer - February 2018 - 5
American Cinematographer - February 2018 - 6
American Cinematographer - February 2018 - 7
American Cinematographer - February 2018 - 8
American Cinematographer - February 2018 - 9
American Cinematographer - February 2018 - 10
American Cinematographer - February 2018 - 11
American Cinematographer - February 2018 - 12
American Cinematographer - February 2018 - 13
American Cinematographer - February 2018 - 14
American Cinematographer - February 2018 - 15
American Cinematographer - February 2018 - 16
American Cinematographer - February 2018 - 17
American Cinematographer - February 2018 - 18
American Cinematographer - February 2018 - 19
American Cinematographer - February 2018 - 20
American Cinematographer - February 2018 - 21
American Cinematographer - February 2018 - 22
American Cinematographer - February 2018 - 23
American Cinematographer - February 2018 - 24
American Cinematographer - February 2018 - 25
American Cinematographer - February 2018 - 26
American Cinematographer - February 2018 - 27
American Cinematographer - February 2018 - 28
American Cinematographer - February 2018 - 29
American Cinematographer - February 2018 - 30
American Cinematographer - February 2018 - 31
American Cinematographer - February 2018 - 32
American Cinematographer - February 2018 - 32a
American Cinematographer - February 2018 - 32b
American Cinematographer - February 2018 - 33
American Cinematographer - February 2018 - 34
American Cinematographer - February 2018 - 35
American Cinematographer - February 2018 - 36
American Cinematographer - February 2018 - 37
American Cinematographer - February 2018 - 38
American Cinematographer - February 2018 - 39
American Cinematographer - February 2018 - 40
American Cinematographer - February 2018 - 41
American Cinematographer - February 2018 - 42
American Cinematographer - February 2018 - 43
American Cinematographer - February 2018 - 44
American Cinematographer - February 2018 - 45
American Cinematographer - February 2018 - 46
American Cinematographer - February 2018 - 47
American Cinematographer - February 2018 - 48
American Cinematographer - February 2018 - 49
American Cinematographer - February 2018 - 50
American Cinematographer - February 2018 - 50a
American Cinematographer - February 2018 - 50b
American Cinematographer - February 2018 - 51
American Cinematographer - February 2018 - 52
American Cinematographer - February 2018 - 53
American Cinematographer - February 2018 - 54
American Cinematographer - February 2018 - 55
American Cinematographer - February 2018 - 56
American Cinematographer - February 2018 - 57
American Cinematographer - February 2018 - 58
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American Cinematographer - February 2018 - 88
American Cinematographer - February 2018 - Cover3
American Cinematographer - February 2018 - Cover4
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