American Cinematographer - August 2010 - 18
Top to bottom: There Will Be Blood, shot by Robert Elswit, ASC, placed fourth; No Country for Old Men, shot by Roger Deakins, ASC, BSC, fifth; and Fight Club, shot by Jeff Cronenweth, ASC, sixth.
They address many different themes, and so does this film.” He earned ASC and Oscar nominations for the picture. Super 35mm. 6) Fight Club (1999): Jeff Cronenweth, ASC. David Fincher’s mostly nocturnal drama about urban alienation and male aggression, which focuses on a city dweller (Edward Norton) and the charismatic stranger (Brad Pitt) who changes his life, was Cronenweth’s first feature as a cinematographer, but because he had previously worked on a number of Fincher’s projects as a camera operator, additional cinematographer or second-unit cinematographer, he was undaunted by the challenge. “I couldn’t think of a better movie to do as my first film,” Cronenweth told AC (Nov. ’99). “Although I knew it would be rough, I had so much trust in David as a filmmaker that I had the confidence [to do it].” Contributing to the film’s unique ambience were a desaturated palette, a heavy reliance on existing light at locations, and an unusual approach to lighting the leads. “We didn’t necessarily want to be able to see directly into the actors’ faces,” said Cronenweth. “It was more interesting and appropriate for the story to force the audience to pay attention.” Delighted to hear of the film’s place in AC’s poll, he noted, “In a way, Fight Club challenged all notions of a big Hollywood movie. Many scenes were lit by only one or two practical sources, creating a tone that was very unique and rarely seen in the industry at large. I think this was one of those rare times when all the creative forces were in sync; every element, from wardrobe to visual effects, contributed to fulfilling David’s vision of this most complicated story. The film pushed some people’s buttons, but I think it mostly tapped into some common thoughts, shared journeys and similar frustrations. It certainly summed up the Nineties.” Super 35mm. 7) The Dark Knight (2008): Wally Pfister, ASC. For their second Batman film, in which the Caped Crusader (Christian Bale) is nearly undone by the criminally insane Joker (Heath Ledger), Pfister and director Christopher Nolan achieved epic scale by capturing about 20 percent of the movie in Imax 15-perf 65mm, a first for a studio feature. “Many filmmakers are trying out digital cameras that actually capture less resolution and information, and we’re going
American Cinematographer
18
August 2010
There Will Be Blood photo ©2007 Paramount Vantage. No Country for Old Men photo ©2007 Miramax Films. Fight Club photo ©1999 20th Century Fox.
American Cinematographer - August 2010
Table of Contents for the Digital Edition of American Cinematographer - August 2010
The International Journal of Motion Imaging - August 2010 Vol. 91 No. 8
Features
Cat and Mouse (Salt)
Girl Trouble (Pilgrim vs. the World)
A Magical Manhattan (The Sorcerer’s Apprentice)
True Colors (Get Low)
Departments
Editor’s Note
President’s Desk
Short Takes: Quiksilver ad campaign
Production Slate: Best-Shot Films of 1998-2008 • The Kids Are All Right
Post Focus: True Blood Workflow
Filmmakers’ Forum: Steven Fierberg, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Charles Minsky
American Cinematographer - August 2010 - The International Journal of Motion Imaging - August 2010 Vol. 91 No. 8
American Cinematographer - August 2010 - Cover2
American Cinematographer - August 2010 - 1
American Cinematographer - August 2010 - 2
American Cinematographer - August 2010 - 3
American Cinematographer - August 2010 - 4
American Cinematographer - August 2010 - 5
American Cinematographer - August 2010 - 6
American Cinematographer - August 2010 - 7
American Cinematographer - August 2010 - Editor’s Note
American Cinematographer - August 2010 - 9
American Cinematographer - August 2010 - President’s Desk
American Cinematographer - August 2010 - 11
American Cinematographer - August 2010 - Short Takes: Quiksilver ad campaign
American Cinematographer - August 2010 - 13
American Cinematographer - August 2010 - 14
American Cinematographer - August 2010 - 15
American Cinematographer - August 2010 - Production Slate: Best-Shot Films of 1998-2008 • The Kids Are All Right
American Cinematographer - August 2010 - 17
American Cinematographer - August 2010 - 18
American Cinematographer - August 2010 - 19
American Cinematographer - August 2010 - 20
American Cinematographer - August 2010 - 21
American Cinematographer - August 2010 - 22
American Cinematographer - August 2010 - 23
American Cinematographer - August 2010 - 24
American Cinematographer - August 2010 - 25
American Cinematographer - August 2010 - 26
American Cinematographer - August 2010 - 27
American Cinematographer - August 2010 - Cat and Mouse (Salt)
American Cinematographer - August 2010 - 29
American Cinematographer - August 2010 - 30
American Cinematographer - August 2010 - 31
American Cinematographer - August 2010 - 32
American Cinematographer - August 2010 - 33
American Cinematographer - August 2010 - 34
American Cinematographer - August 2010 - 35
American Cinematographer - August 2010 - 36
American Cinematographer - August 2010 - 37
American Cinematographer - August 2010 - 38
American Cinematographer - August 2010 - 39
American Cinematographer - August 2010 - 40
American Cinematographer - August 2010 - 41
American Cinematographer - August 2010 - Girl Trouble (Pilgrim vs. the World)
American Cinematographer - August 2010 - 43
American Cinematographer - August 2010 - 44
American Cinematographer - August 2010 - 45
American Cinematographer - August 2010 - 46
American Cinematographer - August 2010 - 47
American Cinematographer - August 2010 - 48
American Cinematographer - August 2010 - 49
American Cinematographer - August 2010 - 50
American Cinematographer - August 2010 - 51
American Cinematographer - August 2010 - 52
American Cinematographer - August 2010 - 53
American Cinematographer - August 2010 - 54
American Cinematographer - August 2010 - 55
American Cinematographer - August 2010 - A Magical Manhattan (The Sorcerer’s Apprentice)
American Cinematographer - August 2010 - 57
American Cinematographer - August 2010 - 58
American Cinematographer - August 2010 - 59
American Cinematographer - August 2010 - 60
American Cinematographer - August 2010 - 61
American Cinematographer - August 2010 - 62
American Cinematographer - August 2010 - 63
American Cinematographer - August 2010 - 64
American Cinematographer - August 2010 - 65
American Cinematographer - August 2010 - 66
American Cinematographer - August 2010 - 67
American Cinematographer - August 2010 - True Colors (Get Low)
American Cinematographer - August 2010 - 69
American Cinematographer - August 2010 - 70
American Cinematographer - August 2010 - 71
American Cinematographer - August 2010 - 72
American Cinematographer - August 2010 - 73
American Cinematographer - August 2010 - 74
American Cinematographer - August 2010 - 75
American Cinematographer - August 2010 - Post Focus: True Blood Workflow
American Cinematographer - August 2010 - 77
American Cinematographer - August 2010 - 78
American Cinematographer - August 2010 - 79
American Cinematographer - August 2010 - Filmmakers’ Forum: Steven Fierberg, ASC
American Cinematographer - August 2010 - 81
American Cinematographer - August 2010 - New Products & Services
American Cinematographer - August 2010 - 83
American Cinematographer - August 2010 - 84
American Cinematographer - August 2010 - 85
American Cinematographer - August 2010 - 86
American Cinematographer - August 2010 - 87
American Cinematographer - August 2010 - 88
American Cinematographer - August 2010 - 89
American Cinematographer - August 2010 - International Marketplace
American Cinematographer - August 2010 - Classified Ads
American Cinematographer - August 2010 - Ad Index
American Cinematographer - August 2010 - 93
American Cinematographer - August 2010 - Clubhouse News
American Cinematographer - August 2010 - 95
American Cinematographer - August 2010 - ASC Close-Up: Charles Minsky
American Cinematographer - August 2010 - Cover3
American Cinematographer - August 2010 - Cover4
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