American Cinematographer - August 2012 - 26

going to use it! He’ll use the best take for the
actors, of course. Once, we had a shot that
was a bit soft, and he kept it in. He joked
that it ‘looks like European or French
cinema.’
How would you describe his
directing style?
Khondji: Woody makes films like a
musician, like a composer. It’s very much a
question of rhythm. Of course, I’ve done
only comedies with him, but everything,
from the actors to the camera moves, has to
have rhythm. If a scene starts to feel heavy,
to fall flat, he will rethink it or, at the worst,
reshoot it. He really knows what he wants.
More important, he knows what he doesn’t
want! He has a wonderful way of dealing
with problems on the set. He’s very flexible,
and he always finds interesting solutions
because he’s used to making films without
big budgets. Sometimes he’ll simply turn an
evening scene into a day scene. He’s very
inspiring, and I feel I’ve learned a lot from
him.
I must also add that I’m very grateful
Top: Jack (Jesse
Eisenberg) and
Sally (Greta
Gerwig, right)
entertain Sally’s
friend (Ellen Page)
in To Rome with
Love. Middle: An
American woman
(Alison Pill) has a
chance encounter
with a Roman
(Flavio Parenti)
that leads to
romance. Bottom:
“Cloud cover”
created for
Roman piazzas
by Khondji’s
Italian crew.
to my excellent crews on both films. In
France, they included gaffer Thierry
Beaucheron, key grip Cyril Kuhnholtz,
camera assistants Fabienne Octobre and
Julien Andreetti, and camera operator Jan
Rubens. In Italy, they included gaffer Stefano
Marino, key grip Paolo Frasson, camera assistants
Alberto ‘Nino’ Torrecilla and Simona di
Lullo, and camera operator Daniele
Massacesi. And I’m equally grateful to the
great Joe Gawler, our colorist at Deluxe New
York, who graded both movies.
TECHNICAL SPECS
Midnight in Paris
Super 1.85:1
3-perf Super 35mm
Arricam Studio, Lite
Cooke S2, S3, S4, 5/i; Angenieux Optimo
Kodak Vision3 200T 5213, 500T 5219
Digital Intermediate
To Rome with Love
Super 1.85:1
4-perf Super 35mm
Arricam Studio, Lite
Cooke 5/i, S4, S3
Kodak Vision3 200T 5213, 500T 5219
Digital Intermediate
26
August 2012
American Cinematographer
●
Bottom photo courtesy of Darius Khondji.

American Cinematographer - August 2012

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

American Cinematographer - August 2012
Contents
Editor’s Note
Short Takes: New York Story
Production Slate: 360 • Midnight in Paris/To Rome with Love
Batman to the Max
Web-Slinging in Stereo
Memory Upgrade
Vampire Veto
Post Focus: Man, Chicks Are Just Different
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: David Boyd
American Cinematographer - August 2012 - American Cinematographer - August 2012
American Cinematographer - August 2012 - Cover2
American Cinematographer - August 2012 - 1
American Cinematographer - August 2012 - 2
American Cinematographer - August 2012 - Contents
American Cinematographer - August 2012 - 4
American Cinematographer - August 2012 - 5
American Cinematographer - August 2012 - 6
American Cinematographer - August 2012 - 7
American Cinematographer - August 2012 - Editor’s Note
American Cinematographer - August 2012 - 9
American Cinematographer - August 2012 - 10
American Cinematographer - August 2012 - 11
American Cinematographer - August 2012 - Short Takes: New York Story
American Cinematographer - August 2012 - 13
American Cinematographer - August 2012 - 14
American Cinematographer - August 2012 - 15
American Cinematographer - August 2012 - 16
American Cinematographer - August 2012 - 17
American Cinematographer - August 2012 - Production Slate: 360 • Midnight in Paris/To Rome with Love
American Cinematographer - August 2012 - 19
American Cinematographer - August 2012 - 20
American Cinematographer - August 2012 - 21
American Cinematographer - August 2012 - 22
American Cinematographer - August 2012 - 23
American Cinematographer - August 2012 - 24
American Cinematographer - August 2012 - 25
American Cinematographer - August 2012 - 26
American Cinematographer - August 2012 - 27
American Cinematographer - August 2012 - 28
American Cinematographer - August 2012 - 29
American Cinematographer - August 2012 - Batman to the Max
American Cinematographer - August 2012 - 31
American Cinematographer - August 2012 - 32
American Cinematographer - August 2012 - 33
American Cinematographer - August 2012 - 34
American Cinematographer - August 2012 - 35
American Cinematographer - August 2012 - 36
American Cinematographer - August 2012 - 37
American Cinematographer - August 2012 - 38
American Cinematographer - August 2012 - 39
American Cinematographer - August 2012 - 40
American Cinematographer - August 2012 - 41
American Cinematographer - August 2012 - 42
American Cinematographer - August 2012 - 43
American Cinematographer - August 2012 - 44
American Cinematographer - August 2012 - 45
American Cinematographer - August 2012 - Web-Slinging in Stereo
American Cinematographer - August 2012 - 47
American Cinematographer - August 2012 - 48
American Cinematographer - August 2012 - 49
American Cinematographer - August 2012 - 50
American Cinematographer - August 2012 - 51
American Cinematographer - August 2012 - 52
American Cinematographer - August 2012 - 53
American Cinematographer - August 2012 - 54
American Cinematographer - August 2012 - 55
American Cinematographer - August 2012 - 56
American Cinematographer - August 2012 - 57
American Cinematographer - August 2012 - Memory Upgrade
American Cinematographer - August 2012 - 59
American Cinematographer - August 2012 - 60
American Cinematographer - August 2012 - 61
American Cinematographer - August 2012 - 62
American Cinematographer - August 2012 - 63
American Cinematographer - August 2012 - 64
American Cinematographer - August 2012 - 65
American Cinematographer - August 2012 - 66
American Cinematographer - August 2012 - 67
American Cinematographer - August 2012 - Vampire Veto
American Cinematographer - August 2012 - 69
American Cinematographer - August 2012 - 70
American Cinematographer - August 2012 - 71
American Cinematographer - August 2012 - 72
American Cinematographer - August 2012 - 73
American Cinematographer - August 2012 - 74
American Cinematographer - August 2012 - 75
American Cinematographer - August 2012 - Post Focus: Man, Chicks Are Just Different
American Cinematographer - August 2012 - 77
American Cinematographer - August 2012 - 78
American Cinematographer - August 2012 - 79
American Cinematographer - August 2012 - New Products & Services
American Cinematographer - August 2012 - 81
American Cinematographer - August 2012 - 82
American Cinematographer - August 2012 - 83
American Cinematographer - August 2012 - 84
American Cinematographer - August 2012 - 85
American Cinematographer - August 2012 - International Marketplace
American Cinematographer - August 2012 - Classified Ads
American Cinematographer - August 2012 - Ad Index
American Cinematographer - August 2012 - 89
American Cinematographer - August 2012 - Clubhouse News
American Cinematographer - August 2012 - 91
American Cinematographer - August 2012 - ASC Close-Up: David Boyd
American Cinematographer - August 2012 - Cover3
American Cinematographer - August 2012 - Cover4
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