American Cinematographer - July 2020 - 33
A composite by Storaro from The Sheltering Sky - another of the cinematographer's collaborations with Bertolucci - with a brooding Port (John Malkovich)
placed over a caravan scene.
started as a writer, and got his first
Oscar for writing Patton. Bernardo
would go shot by shot, while Francis
worked with actors to get the concept.
When we first started, I would wait
for him to tell me how to shoot a
scene, but I learned that his preference was to tell me the concept, and
then I would prepare the shot with
the camera, and the movement - and
he would give approval, or suggest
some change.
"Francis has an open mind, not
only about the acting, but how we
used something on set. He would say,
'Even more!' He would blow your
mind if you couldn't continue to
invent something. He opened my
mind to be free. When I got the
award, I thanked the Academy for the
freedom to expand my mind, my
fantasy."
The tensions on Apocalypse Now
between the enormous mythic ambi-
tions of Coppola and the ability of the
cast and the crew to deliver came to a
head toward the end, when Marlon
Brando arrived and shooting stalled.
"Francis and Marlon spoke for a few
days about Kurtz's character. Marlon
knew that the audience knew very
little about his character, and he was
thinking about how to play him. He
knew that he shouldn't be realistic.
"We were living in houseboats,
waiting - we didn't know when we
would start. The first scene of the film
where Martin Sheen is waiting for his
mission - that is very similar to how
I felt! On the third day we were still
waiting, so I said, 'Let me try to
propose something to Francis.' I
asked Martin Sheen to help me, and
we used a double for Marlon. I
prepared the first shot to not show the
face of Kurtz at the beginning, but to
reveal it step by step. Then I went out
looking for Francis. It started to rain. I
www.ascmag.com
Vittorio's influence on me was
tremendous. Certainly, he is the single
most influential cinematographer of my
generation. I remember telling my dailies
timer Mato at FotoKem, after seeing Last
Emperor, to make my dailies from
Stripped to Kill 2 look just like that -
haha!
His expressionistic use of color was
not only relevant to the story, but also
stunningly beautiful. Many of the things I
still do today, lighting-wise, I would not
have attempted if I had not been exposed
to the visionary approach to his work.
Vittorio is always confident yet
soulful. He's given us all the courage to
break the boundaries of traditional lighting!
Happy 80th, Maestro!
- Phedon Papamichael, ASC, GSC
July 2020
33
http://www.ascmag.com
American Cinematographer - July 2020
Table of Contents for the Digital Edition of American Cinematographer - July 2020
Contents
American Cinematographer - July 2020 - Cover1
American Cinematographer - July 2020 - Cover2
American Cinematographer - July 2020 - 1
American Cinematographer - July 2020 - Contents
American Cinematographer - July 2020 - 3
American Cinematographer - July 2020 - 4
American Cinematographer - July 2020 - 5
American Cinematographer - July 2020 - 6
American Cinematographer - July 2020 - 7
American Cinematographer - July 2020 - 8
American Cinematographer - July 2020 - 9
American Cinematographer - July 2020 - 10
American Cinematographer - July 2020 - 11
American Cinematographer - July 2020 - 12
American Cinematographer - July 2020 - 13
American Cinematographer - July 2020 - 14
American Cinematographer - July 2020 - 15
American Cinematographer - July 2020 - 16
American Cinematographer - July 2020 - 17
American Cinematographer - July 2020 - 18
American Cinematographer - July 2020 - 19
American Cinematographer - July 2020 - 20
American Cinematographer - July 2020 - 21
American Cinematographer - July 2020 - 22
American Cinematographer - July 2020 - 23
American Cinematographer - July 2020 - 24
American Cinematographer - July 2020 - 25
American Cinematographer - July 2020 - 26
American Cinematographer - July 2020 - 27
American Cinematographer - July 2020 - 28
American Cinematographer - July 2020 - 29
American Cinematographer - July 2020 - 30
American Cinematographer - July 2020 - 31
American Cinematographer - July 2020 - 32
American Cinematographer - July 2020 - 33
American Cinematographer - July 2020 - 34
American Cinematographer - July 2020 - 35
American Cinematographer - July 2020 - 36
American Cinematographer - July 2020 - 37
American Cinematographer - July 2020 - 38
American Cinematographer - July 2020 - 39
American Cinematographer - July 2020 - 40
American Cinematographer - July 2020 - 41
American Cinematographer - July 2020 - 42
American Cinematographer - July 2020 - 43
American Cinematographer - July 2020 - 44
American Cinematographer - July 2020 - 45
American Cinematographer - July 2020 - 46
American Cinematographer - July 2020 - 47
American Cinematographer - July 2020 - 48
American Cinematographer - July 2020 - 49
American Cinematographer - July 2020 - 50
American Cinematographer - July 2020 - 51
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American Cinematographer - July 2020 - 56
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American Cinematographer - July 2020 - 71
American Cinematographer - July 2020 - 72
American Cinematographer - July 2020 - Cover3
American Cinematographer - July 2020 - Cover4
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