American Cinematographer - March 2009 - 18

Production Slate Italian Crime and Japanese “Face” Two young gangsters in Gomorrah, Ciro (Ciro Petrone) and Marco (Marco Macor), try to emulate Scarface’s Tony Montana in all that they do. Demythologizing the Mafia by Patricia Thomson When most people hear “Mafia,” they think of Sicily’s Casa Nostra, but far more powerful is the Camorra in Naples. Responsible for 4,000 deaths, the Camorra network reaches deep into the European economy, earning $200 billion through illegal activity and profiting from legitimate enterprises such as construction, fashion and tourism. But it wasn’t until Neapolitan writer Roberto Saviano wrote the exposé Gomorrah, in 2006, that the public took notice. More than a million copies of the book were sold in Italy, and it has since been translated into 33 languages. Thrust into this unwelcome spotlight, the Camorra responded with a death threat against Saviano, who now lives under full-time protection. 18 March 2009 When Italian director and cameraman Matteo Garrone read Gomorrah, he saw it as “an important, powerful book [that was] full of strong images,” he says. “I’m a visual director; I used to be a painter. So when I read the book, I thought there was the possibility of making a Mafia movie different from those I’d seen before.” Shot in the periphery of Naples, the movie makes use of practical locations, non-professional actors, realitybased storylines and a spare cinematic language that Garrone devised with cinematographer Marco Onorato, AIC, a frequent collaborator. Onorato earned David di Donatello Award nominations for his work on Garrone’s The Embalmer (2002) and First Love (2004), and he has shot seven of the director’s eight fictional features. (The exception was Roman Summer. “I was occupied with another project,” Onorato says. “I’m sorry about that, because it’s a film I love.”) As it happens, Onorato is Garrone’s stepfather. When Garrone started out in the film business, Onorato hired him as camera assistant. When Garrone began directing, he, in turn, hired Onorato as director of photography. “We work well together,” says Garrone. “He’s a great director of photography, and we share the same ideas about cinema.” On Garrone’s films, the duo discuss all aspects of cinematography but divide the work; Onorato handles lighting and Garrone operates the camera, which is typically handheld. Onorato observes, “I think a cameraman is an executor, whereas a director who also operates camera is a creator. So it’s Gomorrah photos by Mario Spada, courtesy of IFC Films.

American Cinematographer - March 2009

Table of Contents for the Digital Edition of American Cinematographer - March 2009

American Cinematographer - March 2009
Contents
Editor’s Note
Letters
Short Takes: Clap Your Brains Off
Production Slate: Gomorrah
Production Slate: Tokyo Sonata
Cutting-Edge Camerawork
A Life Full of Miracles
A Very Active Member
Post Focus: Alien Trespass
Filmmaker’s Forum: Peter Sova, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Wunstorf
American Cinematographer - March 2009 - American Cinematographer - March 2009
American Cinematographer - March 2009 - Cover2
American Cinematographer - March 2009 - 1
American Cinematographer - March 2009 - 2
American Cinematographer - March 2009 - Contents
American Cinematographer - March 2009 - 4
American Cinematographer - March 2009 - 5
American Cinematographer - March 2009 - 6
American Cinematographer - March 2009 - 7
American Cinematographer - March 2009 - Editor’s Note
American Cinematographer - March 2009 - 9
American Cinematographer - March 2009 - Letters
American Cinematographer - March 2009 - 11
American Cinematographer - March 2009 - Short Takes: Clap Your Brains Off
American Cinematographer - March 2009 - 13
American Cinematographer - March 2009 - 14
American Cinematographer - March 2009 - 15
American Cinematographer - March 2009 - 16
American Cinematographer - March 2009 - 17
American Cinematographer - March 2009 - Production Slate: Tokyo Sonata
American Cinematographer - March 2009 - 19
American Cinematographer - March 2009 - 20
American Cinematographer - March 2009 - 21
American Cinematographer - March 2009 - 22
American Cinematographer - March 2009 - 23
American Cinematographer - March 2009 - 24
American Cinematographer - March 2009 - 25
American Cinematographer - March 2009 - 26
American Cinematographer - March 2009 - 27
American Cinematographer - March 2009 - 28
American Cinematographer - March 2009 - 29
American Cinematographer - March 2009 - Cutting-Edge Camerawork
American Cinematographer - March 2009 - 31
American Cinematographer - March 2009 - 32
American Cinematographer - March 2009 - 33
American Cinematographer - March 2009 - 34
American Cinematographer - March 2009 - 35
American Cinematographer - March 2009 - 36
American Cinematographer - March 2009 - 37
American Cinematographer - March 2009 - 38
American Cinematographer - March 2009 - 39
American Cinematographer - March 2009 - 40
American Cinematographer - March 2009 - 41
American Cinematographer - March 2009 - 42
American Cinematographer - March 2009 - 43
American Cinematographer - March 2009 - 44
American Cinematographer - March 2009 - 45
American Cinematographer - March 2009 - A Life Full of Miracles
American Cinematographer - March 2009 - 47
American Cinematographer - March 2009 - 48
American Cinematographer - March 2009 - 49
American Cinematographer - March 2009 - 50
American Cinematographer - March 2009 - 51
American Cinematographer - March 2009 - 52
American Cinematographer - March 2009 - 53
American Cinematographer - March 2009 - 54
American Cinematographer - March 2009 - 55
American Cinematographer - March 2009 - A Very Active Member
American Cinematographer - March 2009 - 57
American Cinematographer - March 2009 - 58
American Cinematographer - March 2009 - 59
American Cinematographer - March 2009 - 60
American Cinematographer - March 2009 - 61
American Cinematographer - March 2009 - 62
American Cinematographer - March 2009 - 63
American Cinematographer - March 2009 - Post Focus: Alien Trespass
American Cinematographer - March 2009 - 65
American Cinematographer - March 2009 - 66
American Cinematographer - March 2009 - 67
American Cinematographer - March 2009 - Filmmaker’s Forum: Peter Sova, ASC
American Cinematographer - March 2009 - 69
American Cinematographer - March 2009 - 70
American Cinematographer - March 2009 - 71
American Cinematographer - March 2009 - New Products & Services
American Cinematographer - March 2009 - 73
American Cinematographer - March 2009 - 74
American Cinematographer - March 2009 - 75
American Cinematographer - March 2009 - 76
American Cinematographer - March 2009 - 77
American Cinematographer - March 2009 - 78
American Cinematographer - March 2009 - 79
American Cinematographer - March 2009 - International Marketplace
American Cinematographer - March 2009 - Classified Ads
American Cinematographer - March 2009 - Ad Index
American Cinematographer - March 2009 - Clubhouse News
American Cinematographer - March 2009 - ASC Close-Up: Peter Wunstorf
American Cinematographer - March 2009 - Cover3
American Cinematographer - March 2009 - Cover4
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