American Cinematographer - May 2012 - 8

Editor’s Note
Epic narratives will always command the big screen, but sagas with large casts and intricate storylines are also thriving on television. HBO specializes in these richly woven tapestries, and Game of Thrones has proven to be a worthy successor to the late, lamented Rome. Set in the Seven Kingdoms of Westeros, the series revels in the venomous conflicts between medieval clans vying for the Iron Throne. Featuring brave knights, fair maidens, scheming royals, dragons and a decidedly debauched dwarf, the show offers enough lustful intrigue to merit at least three bowls of popcorn per viewing. The famous, head-spinning plot twist that concluded the first season has upped the ante for the show’s second, which began airing last month. Season Two was so ambitious it required five cinematographers shooting on location in Northern Ireland, Iceland and Croatia: Kramer Morgenthau, ASC; P.J. Dillon; Martin Kenzie; Jonathan Freeman, ASC; and Sam McCurdy, BSC. “One of the show’s big achievements is its scale, and you feel that every inch of the way when you are making it,” episode director Alan Taylor tells Michael Goldman (“Harsh Realms,” page 32). “Kramer and the other cinematographers did a remarkable job. Making a show like this look epic on a budget is hard, but they pulled it off.” One of the true standouts at this year’s Sundance Film Festival was Wuthering Heights, a radical reimagining of Emily Brontë’s classic novel that reteamed cinematographer Robbie Ryan, BSC with director Andrea Arnold. The film has already been released to critical acclaim in its native U.K., and it will appear in U.S. theaters this fall, when awards season will be in full swing. Nevertheless, we’re eager to throw an early spotlight on Ryan’s arresting cinematography, which offers compelling, subjective perspectives framed in 1.33:1 — an unusual choice for a theatrical release. “[Andrea’s] argument was that you don’t get enough sky in widescreen, and that’s a valid point,” Ryan tells Patricia Thomson (“Wild Passion,” page 42). “The weather and clouds were constantly moving really quickly in our locations, and you can see that in the 1.33 frame. You tend to look up a bit more. For the cinematographer, compositions can be a challenge, but it’s quite nice when you start seeing things you hadn’t seen before.” Looking back at his work on a pair of modern classics is Robert Elswit, ASC, whose dynamic cinematography in Boogie Nights and Magnolia helped establish his frequent collaborator, director Paul Thomas Anderson, as one of today’s most admired filmmakers. (The two have also teamed on Hard Eight, Punch-Drunk Love and There Will Be Blood.) “Paul has a feel for movies, and he can make decisions on set about [key] moments that are purely cinematic,” Elswit tells Jon Silberg (“Tales of Ordinary Madness,” page 52). “There’s no way to be sure they’ll work, but when they do, they make his films exceptional.” This issue also offers our annual recaps of ASC Awards weekend (“Center Stage for Cinematographers,” page 69) and the Academy’s Science & Technology Awards (“Top of Their Class,” page 62). Suffice to say that both events were smashing successes that honored cinematographers and the technical wizards who help them advance the art form.

Stephen Pizzello Executive Editor
8

Photo by Owen Roizman, ASC.



American Cinematographer - May 2012

Table of Contents for the Digital Edition of American Cinematographer - May 2012

American Cinematographer - May 2012
Contents
Editor’s Note
President’s Desk
Short Takes: M.I.A.’s “Bad Girls”
Production Slate: Person of Interest • The Raven
Harsh Realms
Wild Passion
Tales of Ordinary Madness
Top of Their Class
Center Stage for Cinematographers
Post Focus: Technicolor Restores Wings
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoria: Ric Waite, ASC; Herbert S. Alpert, ASC, CSC
Clubhouse News
ASC Close-Up: Darius Khondji
American Cinematographer - May 2012 - American Cinematographer - May 2012
American Cinematographer - May 2012 - Cover2
American Cinematographer - May 2012 - 1
American Cinematographer - May 2012 - 2
American Cinematographer - May 2012 - 3
American Cinematographer - May 2012 - Contents
American Cinematographer - May 2012 - 5
American Cinematographer - May 2012 - 6
American Cinematographer - May 2012 - 7
American Cinematographer - May 2012 - Editor’s Note
American Cinematographer - May 2012 - 9
American Cinematographer - May 2012 - President’s Desk
American Cinematographer - May 2012 - 11
American Cinematographer - May 2012 - Short Takes: M.I.A.’s “Bad Girls”
American Cinematographer - May 2012 - 13
American Cinematographer - May 2012 - 14
American Cinematographer - May 2012 - 15
American Cinematographer - May 2012 - 16
American Cinematographer - May 2012 - 17
American Cinematographer - May 2012 - Production Slate: Person of Interest • The Raven
American Cinematographer - May 2012 - 19
American Cinematographer - May 2012 - 20
American Cinematographer - May 2012 - 21
American Cinematographer - May 2012 - 22
American Cinematographer - May 2012 - 23
American Cinematographer - May 2012 - 24
American Cinematographer - May 2012 - 25
American Cinematographer - May 2012 - 26
American Cinematographer - May 2012 - 27
American Cinematographer - May 2012 - 28
American Cinematographer - May 2012 - 29
American Cinematographer - May 2012 - 30
American Cinematographer - May 2012 - 31
American Cinematographer - May 2012 - Harsh Realms
American Cinematographer - May 2012 - 33
American Cinematographer - May 2012 - 34
American Cinematographer - May 2012 - 35
American Cinematographer - May 2012 - 36
American Cinematographer - May 2012 - 37
American Cinematographer - May 2012 - 38
American Cinematographer - May 2012 - 39
American Cinematographer - May 2012 - 40
American Cinematographer - May 2012 - 41
American Cinematographer - May 2012 - Wild Passion
American Cinematographer - May 2012 - 43
American Cinematographer - May 2012 - 44
American Cinematographer - May 2012 - 45
American Cinematographer - May 2012 - 46
American Cinematographer - May 2012 - 47
American Cinematographer - May 2012 - 48
American Cinematographer - May 2012 - 49
American Cinematographer - May 2012 - 50
American Cinematographer - May 2012 - 51
American Cinematographer - May 2012 - Tales of Ordinary Madness
American Cinematographer - May 2012 - 53
American Cinematographer - May 2012 - 54
American Cinematographer - May 2012 - 55
American Cinematographer - May 2012 - 56
American Cinematographer - May 2012 - 57
American Cinematographer - May 2012 - 58
American Cinematographer - May 2012 - 59
American Cinematographer - May 2012 - 60
American Cinematographer - May 2012 - 61
American Cinematographer - May 2012 - Top of Their Class
American Cinematographer - May 2012 - 63
American Cinematographer - May 2012 - 64
American Cinematographer - May 2012 - 65
American Cinematographer - May 2012 - 66
American Cinematographer - May 2012 - 67
American Cinematographer - May 2012 - 68
American Cinematographer - May 2012 - Center Stage for Cinematographers
American Cinematographer - May 2012 - 70
American Cinematographer - May 2012 - 71
American Cinematographer - May 2012 - 72
American Cinematographer - May 2012 - 73
American Cinematographer - May 2012 - 74
American Cinematographer - May 2012 - 75
American Cinematographer - May 2012 - 76
American Cinematographer - May 2012 - 77
American Cinematographer - May 2012 - 78
American Cinematographer - May 2012 - 79
American Cinematographer - May 2012 - 80
American Cinematographer - May 2012 - 81
American Cinematographer - May 2012 - Post Focus: Technicolor Restores Wings
American Cinematographer - May 2012 - 83
American Cinematographer - May 2012 - 84
American Cinematographer - May 2012 - 85
American Cinematographer - May 2012 - 86
American Cinematographer - May 2012 - 87
American Cinematographer - May 2012 - New Products & Services
American Cinematographer - May 2012 - 89
American Cinematographer - May 2012 - 90
American Cinematographer - May 2012 - 91
American Cinematographer - May 2012 - International Marketplace
American Cinematographer - May 2012 - Classified Ads
American Cinematographer - May 2012 - Ad Index
American Cinematographer - May 2012 - In Memoria: Ric Waite, ASC; Herbert S. Alpert, ASC, CSC
American Cinematographer - May 2012 - 96
American Cinematographer - May 2012 - 97
American Cinematographer - May 2012 - Clubhouse News
American Cinematographer - May 2012 - 99
American Cinematographer - May 2012 - ASC Close-Up: Darius Khondji
American Cinematographer - May 2012 - Cover3
American Cinematographer - May 2012 - Cover4
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