American Cinematographer - July 2012 - 8

Editor’s Note
Back in 1979, when I was 12 years old, I was sitting in front of the TV when a large egg appeared on the screen. Ominous sounds echoed through our family den, punctuated by the eerie shriek of an unearthly alarm klaxon. A crack began fracturing the egg, flashing shafts of white light poured out, and a baritone voice intoned, “Alien. Rated R.” Seconds later, I ran off to corner my bemused father and begin a relentless, obsessive campaign to convince him that he “must accompany” me to my first R-rated movie. My dad eventually caved and took me to our local theater, where I was literally sweating with anticipation. I didn’t really know what I was in for, but I knew it was gonna be scary, and that it would involve a weird creature from outer space. The lights went down and I was not disappointed — Alien kept my heart hammering for two hours, and I shot about 2 feet out of my chair when H.R. Giger’s horrifying monster sprang from John Hurt’s chest, spraying bloody viscera all over the Nostromo’s crewmembers and walls. Needless to say, I’m excited that Ridley Scott is back in the director’s chair for Prometheus, a film he has coyly refused to refer to as a “prequel.” He concedes that the movie contains “strands of Alien’s DNA” in its plot, which concerns a group of space explorers who discover an advanced extraterrestrial civilization with close ties to mankind’s origins. Dariusz Wolski, ASC joined Scott for the journey, and the two filmmakers detailed their approach in separate interviews with Benjamin Bergery (“Ancient Aliens,” page 30). Dan Mindel, ASC, BSC embarked on a different kind of odyssey with Oliver Stone on the dramatic thriller Savages, which concerns a pair of marijuana growers whose shared girlfriend is kidnapped by a drug cartel. Mindel embraced the chance to work on a project that allowed him to capture most of the action on location with a variety of film stocks and incamera effects: “After being tied to big CGI films for the past few years, Savages was a totally refreshing experience,” he tells Iain Stasukevich (“High Anxiety,” page 42). “We kept the digital effects to a minimum and did as much as we could practically. Running around real locations and really blowing things up was a welcome change!” If you have fond memories of Eighties rockers with glorious coiffures, Rock of Ages will allow you to “hold on to the feelin’,” as Journey’s Steve Perry sings in his signature tune “Don’t Stop Believin’.” Bojan Bazelli, ASC offers Pat Thomson an overview of his approach while also breaking down a key sequence in which Tom Cruise (as satyr-like rock god Stacee Jaxx) gyrates his way through Bon Jovi’s “Wanted Dead or Alive” (“Hair-Metal Heroes,” page 54). Eighties nostalgia may have also inspired Dallas, a reboot of the iconic television series that scored high ratings from 1978-1991. Rodney Charters, ASC, CSC and Rob Sweeney took Jean Oppenheimer on a verbal tour of Southfork, where scheming tycoon J.R. Ewing (Larry Hagman) contends with the latest generation of his dysfunctional clan (“Shooting J.R.,” page 64).

Stephen Pizzello Executive Editor

8

Photo by Owen Roizman, ASC.



American Cinematographer - July 2012

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

American Cinematographer - July 2012
Contents
Editor’s Note
Short Takes: Keane’s “Silenced by the Night”
Production Slate: Trishna • Two and a Half Men
Ancient Aliens
High Anxiety
Hair-Metal Heroes
Shooting J.R.
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - American Cinematographer - July 2012
American Cinematographer - July 2012 - Cover2
American Cinematographer - July 2012 - 1
American Cinematographer - July 2012 - 2
American Cinematographer - July 2012 - Contents
American Cinematographer - July 2012 - 4
American Cinematographer - July 2012 - 5
American Cinematographer - July 2012 - 6
American Cinematographer - July 2012 - 7
American Cinematographer - July 2012 - Editor’s Note
American Cinematographer - July 2012 - 9
American Cinematographer - July 2012 - Short Takes: Keane’s “Silenced by the Night”
American Cinematographer - July 2012 - 11
American Cinematographer - July 2012 - 12
American Cinematographer - July 2012 - 13
American Cinematographer - July 2012 - 14
American Cinematographer - July 2012 - 15
American Cinematographer - July 2012 - Production Slate: Trishna • Two and a Half Men
American Cinematographer - July 2012 - 17
American Cinematographer - July 2012 - 18
American Cinematographer - July 2012 - 19
American Cinematographer - July 2012 - 20
American Cinematographer - July 2012 - 21
American Cinematographer - July 2012 - 22
American Cinematographer - July 2012 - 23
American Cinematographer - July 2012 - 24
American Cinematographer - July 2012 - 25
American Cinematographer - July 2012 - 26
American Cinematographer - July 2012 - 27
American Cinematographer - July 2012 - 28
American Cinematographer - July 2012 - 29
American Cinematographer - July 2012 - Ancient Aliens
American Cinematographer - July 2012 - 31
American Cinematographer - July 2012 - 32
American Cinematographer - July 2012 - 33
American Cinematographer - July 2012 - 34
American Cinematographer - July 2012 - 35
American Cinematographer - July 2012 - 36
American Cinematographer - July 2012 - 37
American Cinematographer - July 2012 - 38
American Cinematographer - July 2012 - 39
American Cinematographer - July 2012 - 40
American Cinematographer - July 2012 - 41
American Cinematographer - July 2012 - High Anxiety
American Cinematographer - July 2012 - 43
American Cinematographer - July 2012 - 44
American Cinematographer - July 2012 - 45
American Cinematographer - July 2012 - 46
American Cinematographer - July 2012 - 47
American Cinematographer - July 2012 - 48
American Cinematographer - July 2012 - 49
American Cinematographer - July 2012 - 50
American Cinematographer - July 2012 - 51
American Cinematographer - July 2012 - 52
American Cinematographer - July 2012 - 53
American Cinematographer - July 2012 - Hair-Metal Heroes
American Cinematographer - July 2012 - 55
American Cinematographer - July 2012 - 56
American Cinematographer - July 2012 - 57
American Cinematographer - July 2012 - 58
American Cinematographer - July 2012 - 59
American Cinematographer - July 2012 - 60
American Cinematographer - July 2012 - 61
American Cinematographer - July 2012 - 62
American Cinematographer - July 2012 - 63
American Cinematographer - July 2012 - Shooting J.R.
American Cinematographer - July 2012 - 65
American Cinematographer - July 2012 - 66
American Cinematographer - July 2012 - 67
American Cinematographer - July 2012 - 68
American Cinematographer - July 2012 - 69
American Cinematographer - July 2012 - 70
American Cinematographer - July 2012 - 71
American Cinematographer - July 2012 - New Products & Services
American Cinematographer - July 2012 - 73
American Cinematographer - July 2012 - 74
American Cinematographer - July 2012 - 75
American Cinematographer - July 2012 - 76
American Cinematographer - July 2012 - 77
American Cinematographer - July 2012 - 78
American Cinematographer - July 2012 - 79
American Cinematographer - July 2012 - 80
American Cinematographer - July 2012 - 81
American Cinematographer - July 2012 - International Marketplace
American Cinematographer - July 2012 - Classified Ads
American Cinematographer - July 2012 - Ad Index
American Cinematographer - July 2012 - 85
American Cinematographer - July 2012 - Clubhouse News
American Cinematographer - July 2012 - 87
American Cinematographer - July 2012 - ASC Close-Up: Peter Lyons Collister
American Cinematographer - July 2012 - Cover3
American Cinematographer - July 2012 - Cover4
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