American Cinematographer - April 2021 - 20
Picture Partners
Garcelle Beauvais reprises her role from the first film.
to day, so I got a lot of 'exercise.'
I was able to build those muscles
and learn how to navigate with so
many amazing talents in front of the
camera.
[Cinematographer] Paul Sommers came in on the second year
of Empire. He always supported
me and gave me the opportunity to
shoot 2nd unit and eventually move
to DP. When Craig showed up, he
had this presence - a certain ease
about him, and I connected with
him. He had an open mind and an
understanding that this wasn't just
TV; we were doing something for
the culture, and he always tries to
have a sensitivity for that. He has
this humanistic approach, and I
speak that language.
You can have all the best plans
and preproduction, but things happen. You have to be able to adapt. I
think early on we saw that ability in
each other. A director has to navigate the studio, showrunner and
crew. Craig has likability, but he also
has the skills. He doesn't worry too
much, or at least he doesn't show it.
It's part of what we do as illusionists
in this game. A director needs that
uncanny ability, and because of
that, anything Craig ever asks me
to do, I will do. When he called to
ask if I was interested in Coming 2
America, I had just finished Season
5 of Empire, where I was the only
DP on 18 episodes. I had never
missed a day - I was in that Cal
Ripken Jr. zone! I was still feeling
really burned out, but the next day I
got a call from the studio, and I was
like, 'Okay, here we go!'
Brewer: The reason I wanted
Jody for Coming 2 America is that
there are a lot of traps you can fall
in when you're making a 'big movie.'
And no doubt about it, we were
making a big movie. The original
Coming to America meant so much
to people, and it had a big impact
on culture and entertainment, so we
knew the scrutiny would be intense.
Jody and I were fighting every day
to make sure that the sequel stayed
at that level of grandeur and quality.
I didn't know if I would have the time
to deal with the details of the color
palette or ensure the right approach
for every shot. I needed what Jody
gave me on Empire - the ability
to move fast and do dramatic sequences, comedy, action, dance
and music performances. Luckily,
we already had a shorthand. I
could look over at him and nod, and
he could nod back, and a whole
conversation just happened. I knew
20 / APRIL 2021
p.18-23 Picture Partners Coming 2 America V3 DONE.indd 20
3/9/21 1:02 PM
ASC
American Cinematographer - April 2021
Table of Contents for the Digital Edition of American Cinematographer - April 2021
Contents
American Cinematographer - April 2021 - Cover1
American Cinematographer - April 2021 - Cover2
American Cinematographer - April 2021 - 1
American Cinematographer - April 2021 - Contents
American Cinematographer - April 2021 - 3
American Cinematographer - April 2021 - 4
American Cinematographer - April 2021 - 5
American Cinematographer - April 2021 - 6
American Cinematographer - April 2021 - 7
American Cinematographer - April 2021 - 8
American Cinematographer - April 2021 - 9
American Cinematographer - April 2021 - 10
American Cinematographer - April 2021 - 11
American Cinematographer - April 2021 - 12
American Cinematographer - April 2021 - 13
American Cinematographer - April 2021 - 14
American Cinematographer - April 2021 - 15
American Cinematographer - April 2021 - 16
American Cinematographer - April 2021 - 17
American Cinematographer - April 2021 - 18
American Cinematographer - April 2021 - 19
American Cinematographer - April 2021 - 20
American Cinematographer - April 2021 - 21
American Cinematographer - April 2021 - 22
American Cinematographer - April 2021 - 23
American Cinematographer - April 2021 - 24
American Cinematographer - April 2021 - 25
American Cinematographer - April 2021 - 26
American Cinematographer - April 2021 - 27
American Cinematographer - April 2021 - 28
American Cinematographer - April 2021 - 28a
American Cinematographer - April 2021 - 28b
American Cinematographer - April 2021 - 29
American Cinematographer - April 2021 - 30
American Cinematographer - April 2021 - 30a
American Cinematographer - April 2021 - 30b
American Cinematographer - April 2021 - 31
American Cinematographer - April 2021 - 32
American Cinematographer - April 2021 - 33
American Cinematographer - April 2021 - 34
American Cinematographer - April 2021 - 35
American Cinematographer - April 2021 - 36
American Cinematographer - April 2021 - 37
American Cinematographer - April 2021 - 38
American Cinematographer - April 2021 - 39
American Cinematographer - April 2021 - 40
American Cinematographer - April 2021 - 41
American Cinematographer - April 2021 - 42
American Cinematographer - April 2021 - 43
American Cinematographer - April 2021 - 44
American Cinematographer - April 2021 - 45
American Cinematographer - April 2021 - 46
American Cinematographer - April 2021 - 47
American Cinematographer - April 2021 - 48
American Cinematographer - April 2021 - 49
American Cinematographer - April 2021 - 50
American Cinematographer - April 2021 - 51
American Cinematographer - April 2021 - 52
American Cinematographer - April 2021 - 53
American Cinematographer - April 2021 - 54
American Cinematographer - April 2021 - 55
American Cinematographer - April 2021 - 56
American Cinematographer - April 2021 - 57
American Cinematographer - April 2021 - 58
American Cinematographer - April 2021 - 59
American Cinematographer - April 2021 - 60
American Cinematographer - April 2021 - 61
American Cinematographer - April 2021 - 62
American Cinematographer - April 2021 - 63
American Cinematographer - April 2021 - 64
American Cinematographer - April 2021 - 65
American Cinematographer - April 2021 - 66
American Cinematographer - April 2021 - 67
American Cinematographer - April 2021 - 68
American Cinematographer - April 2021 - 69
American Cinematographer - April 2021 - 70
American Cinematographer - April 2021 - 71
American Cinematographer - April 2021 - 72
American Cinematographer - April 2021 - Cover3
American Cinematographer - April 2021 - Cover4
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