American Cinematographer - August 2015 - 10

After watching footage of Tom Cruise dangling off
the side of a military plane in full flight, 5,000 feet
above the British countryside, I had a hunch we'd be
covering Mission: Impossible - Rogue Nation, the
fifth film in the Mission franchise. The movie's cinematographer, ASC member Robert Elswit, had
already conveyed to me that this latest installment
was worthy of in-depth scrutiny, and I'm inclined to
listen to the recommendations of a guy whose cinematic C.V. includes Boogie Nights, There Will Be
Blood, Mission: Impossible - Ghost Protocol, The
Bourne Legacy and Nightcrawler, among other
impressive titles.
After accepting his second Mission, Elswit set
out to create a "classic movie look" in anamorphic
widescreen that would lend a grand dimension to
the exploits of IMF agent Ethan Hunt and his fellow spies. He discusses this decision and others
in Michael Goldman's Q&A piece ("Going Rogue," page 32), which also includes comments
from key crewmembers. "This is a movie-star movie," Elswit observes. "It's the opposite of a
Bourne movie; we're not looking at [the characters] with long lenses, fast cuts and whip pans.
We wanted a kind of strong, heroic, romantic style."
Ant-Man, shot by ASC member Russell Carpenter, also showcases heroism, albeit on a
microscopic scale. Because the movie's hero is capable of shrinking to insect size, Carpenter
was tasked with creating perspectives that would reflect the diminutive character's worldview.
"There's a long history of shrinking-character movies, from The Incredible Shrinking Man to
Honey, I Shrunk the Kids," director Peyton Reed notes in Noah Kadner's coverage of the project
("Macro Heroics," page 44). "Russell was like-minded that we could make Ant-Man the 2015
version of the genre and be as photo-realistic as possible by avoiding the oversized-prop look
of many of those earlier films."
Kramer Morgenthau, ASC looked back to the future on Terminator Genisys, the fifth
movie in that indestructible series, which brings Arnold Schwarzenegger back onscreen as a
reprogrammed T-800. Morgenthau was tapped for the project by director Alan Taylor, with
whom he had previously collaborated on the feature Thor: The Dark World and the TV series
Game of Thrones, among other projects. In Mark Dillon's article about the production ("Time
Travelers," page 54), Morgenthau offers a concise assessment of the duo's harmonious on-set
chemistry: "We share a similar aesthetic, and having done this much work together, we know
each other's strengths and weaknesses and complement each other well."
Mauro Fiore, ASC sought hard-hitting realism for Southpaw, a boxing drama directed
by Antoine Fuqua. To help make the film's fight scenes look as authentic as possible, the pair
enlisted camera operators who work on HBO boxing broadcasts, and all four of the fights were
shot in the first two weeks of production. "Jake and the other fighters had to be prepared to
go all the rounds of each fight without stopping, and we were rolling the whole time," Fiore
tells Debra Kaufman ("Personal Battles," page 64). "It was exhausting for them, but it ended
up being incredible, due to Jake's preparedness and Antoine's intensity in getting the action in
a continuous run."

10

Stephen Pizzello
Editor-in-Chief and Publisher

Photo by Owen Roizman, ASC.

Editor's Note



Table of Contents for the Digital Edition of American Cinematographer - August 2015

Contents
American Cinematographer - August 2015 - Cover1
American Cinematographer - August 2015 - Cover2
American Cinematographer - August 2015 - 1
American Cinematographer - August 2015 - 2
American Cinematographer - August 2015 - Contents
American Cinematographer - August 2015 - 4
American Cinematographer - August 2015 - 5
American Cinematographer - August 2015 - 6
American Cinematographer - August 2015 - 7
American Cinematographer - August 2015 - 8
American Cinematographer - August 2015 - 9
American Cinematographer - August 2015 - 10
American Cinematographer - August 2015 - 11
American Cinematographer - August 2015 - 12
American Cinematographer - August 2015 - 13
American Cinematographer - August 2015 - 14
American Cinematographer - August 2015 - 15
American Cinematographer - August 2015 - 16
American Cinematographer - August 2015 - 17
American Cinematographer - August 2015 - 18
American Cinematographer - August 2015 - 19
American Cinematographer - August 2015 - 20
American Cinematographer - August 2015 - 21
American Cinematographer - August 2015 - 22
American Cinematographer - August 2015 - 23
American Cinematographer - August 2015 - 24
American Cinematographer - August 2015 - 25
American Cinematographer - August 2015 - 26
American Cinematographer - August 2015 - 27
American Cinematographer - August 2015 - 28
American Cinematographer - August 2015 - 29
American Cinematographer - August 2015 - 30
American Cinematographer - August 2015 - 31
American Cinematographer - August 2015 - 32
American Cinematographer - August 2015 - 33
American Cinematographer - August 2015 - 34
American Cinematographer - August 2015 - 35
American Cinematographer - August 2015 - 36
American Cinematographer - August 2015 - 37
American Cinematographer - August 2015 - 38
American Cinematographer - August 2015 - 39
American Cinematographer - August 2015 - 40
American Cinematographer - August 2015 - 41
American Cinematographer - August 2015 - 42
American Cinematographer - August 2015 - 43
American Cinematographer - August 2015 - 44
American Cinematographer - August 2015 - 45
American Cinematographer - August 2015 - 46
American Cinematographer - August 2015 - 47
American Cinematographer - August 2015 - 48
American Cinematographer - August 2015 - 49
American Cinematographer - August 2015 - 50
American Cinematographer - August 2015 - 51
American Cinematographer - August 2015 - 52
American Cinematographer - August 2015 - 53
American Cinematographer - August 2015 - 54
American Cinematographer - August 2015 - 55
American Cinematographer - August 2015 - 56
American Cinematographer - August 2015 - 57
American Cinematographer - August 2015 - 58
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American Cinematographer - August 2015 - 60
American Cinematographer - August 2015 - 61
American Cinematographer - August 2015 - 62
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American Cinematographer - August 2015 - 85
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American Cinematographer - August 2015 - Cover3
American Cinematographer - August 2015 - Cover4
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