American Cinematographer - September 2010 - 8

Editor’s Note
HBO’s new series Boardwalk Empire, which premieres on Sept. 19, will surely be “appointment television” for those of you still recovering from the enigmatic blackout that closed The Sopranos. Created by Sopranos alumnus Terence Winter, the 12-part series promises a fresh round of criminal scheming with the Prohibition-era saga of corrupt Atlantic City treasurer Nucky Thompson (Steve Buscemi), who rubs elbows with a rogue’s gallery of famous gangsters, including Al Capone and Lucky Luciano. Three cinematographers joined the Boardwalk mob: Stuart Dryburgh, ASC (who shot the pilot for director Martin Scorsese, an executive producer on the show); Kramer Morgenthau, ASC; and Jonathan Freeman. Despite lavish production design and meticulous attention to period detail, Dryburgh notes that the pilot eschews an overtly stylized look in favor of a muted, desaturated palette intended to “quietly capture the tone of the period and support the story.” Morgenthau and Freeman then evolved this look to reflect the narrative’s arc. “We decided to slowly push the tone even darker as Nucky’s world starts to collapse,” Freeman says. Morgenthau adds that the duo occasionally departed from the show’s overall tone to develop unique feels for specific episodes. “We were encouraged to treat each episode as its own mini-feature and, to a certain extent, give each one a unique look,” he tells New York contributor Patricia Thomson (“Mob Money, page 34). The rest of this month’s articles reflect our special focus on international production. In shooting the testosterone-laden action film The Expendables for director/star Sylvester Stallone, ASC member Jeffrey Kimball endured a grueling shoot that combined Stateside shooting in New Orleans with a side trip to Brazil. “I needed someone who could improvise if I wanted to change things or if conditions changed, so I went to a master,” Stallone tells Michael Goldman (“War Horses,” page 50). “I pretty much gave Jeffrey free rein, and he rewarded me with beautiful work.” Nowhere Boy, a melancholy account of John Lennon’s youth, required Seamus McGarvey, ASC, BSC to capture the feel of England in the late 1950s. “We knew it was a period film and that it had to evoke an era, but we didn’t want to eulogize or fetishize the period,” McGarvey explains to London correspondent Mark Hope-Jones (“A Beatle’s Upbringing,” page 64). “What we wanted was to evoke a kind of diurnal sense of the epic in the everyday, a day-in, day-out, suburban Liverpool feel.” Centurion, a harrowing action film set in A.D. 117, follows a group of Roman soldiers struggling to survive after their legion is annihilated by the Picts, a Celtic tribe in the Scottish highlands. “The Scottish landscape was always going to be a character in the film,” says cinematographer Sam McCurdy, BSC (“Romans on the Run,” page 74). “As our heroes try to make their way south to safety, they are at odds with the land as much as they are with the Picts.” Closer to home, we’re proud to present a pictorial that shows the evolution of the ASC Clubhouse from its earliest years to its recent, grand re-opening (“Where Cinematography Lives,” page 82). As these fabulous photos illustrate, the Society’s Building Committee, chaired by the stouthearted Owen Roizman, ASC, should be commended for its tireless work on this elegant architectural update, which beautifully preserves our headquarters’ historic ambience.

Stephen Pizzello Executive Editor
8

Photo by Owen Roizman, ASC.



American Cinematographer - September 2010

Table of Contents for the Digital Edition of American Cinematographer - September 2010

American Cinematographer - September 2010
Contents
Editor’s Note
President’s Desk
Short Takes: Alexa “World Cup” demo
Production Slate: Eat Pray Love • The Milk of Sorrow
Mob Money (Boardwalk Empire)
War Horses (The Expendables)
A Beatle’s Upbringing (Nowhere Boy)
Romans on the Run (Centurion)
Where Cinematography Lives (ASC Clubhouse Renovation)
Post Focus: Lottery Ticket
Filmmakers’ Forum: David McFarland on Black Tulip
New Products & Services
International Marketplace
Classified Ads/Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Dejan Georgevich
American Cinematographer - September 2010 - American Cinematographer - September 2010
American Cinematographer - September 2010 - Cover2
American Cinematographer - September 2010 - 1
American Cinematographer - September 2010 - 2
American Cinematographer - September 2010 - Contents
American Cinematographer - September 2010 - 4
American Cinematographer - September 2010 - 5
American Cinematographer - September 2010 - 6
American Cinematographer - September 2010 - 7
American Cinematographer - September 2010 - Editor’s Note
American Cinematographer - September 2010 - 9
American Cinematographer - September 2010 - President’s Desk
American Cinematographer - September 2010 - 11
American Cinematographer - September 2010 - Short Takes: Alexa “World Cup” demo
American Cinematographer - September 2010 - 13
American Cinematographer - September 2010 - 14
American Cinematographer - September 2010 - 15
American Cinematographer - September 2010 - 16
American Cinematographer - September 2010 - 17
American Cinematographer - September 2010 - Production Slate: Eat Pray Love • The Milk of Sorrow
American Cinematographer - September 2010 - 19
American Cinematographer - September 2010 - 20
American Cinematographer - September 2010 - 21
American Cinematographer - September 2010 - 22
American Cinematographer - September 2010 - 23
American Cinematographer - September 2010 - 24
American Cinematographer - September 2010 - 25
American Cinematographer - September 2010 - 26
American Cinematographer - September 2010 - 27
American Cinematographer - September 2010 - 28
American Cinematographer - September 2010 - 29
American Cinematographer - September 2010 - 30
American Cinematographer - September 2010 - 31
American Cinematographer - September 2010 - 32
American Cinematographer - September 2010 - 33
American Cinematographer - September 2010 - Mob Money (Boardwalk Empire)
American Cinematographer - September 2010 - 35
American Cinematographer - September 2010 - 36
American Cinematographer - September 2010 - 37
American Cinematographer - September 2010 - 38
American Cinematographer - September 2010 - 39
American Cinematographer - September 2010 - 40
American Cinematographer - September 2010 - 41
American Cinematographer - September 2010 - 42
American Cinematographer - September 2010 - 43
American Cinematographer - September 2010 - 44
American Cinematographer - September 2010 - 45
American Cinematographer - September 2010 - 46
American Cinematographer - September 2010 - 47
American Cinematographer - September 2010 - 48
American Cinematographer - September 2010 - 49
American Cinematographer - September 2010 - War Horses (The Expendables)
American Cinematographer - September 2010 - 51
American Cinematographer - September 2010 - 52
American Cinematographer - September 2010 - 53
American Cinematographer - September 2010 - 54
American Cinematographer - September 2010 - 55
American Cinematographer - September 2010 - 56
American Cinematographer - September 2010 - 57
American Cinematographer - September 2010 - 58
American Cinematographer - September 2010 - 59
American Cinematographer - September 2010 - 60
American Cinematographer - September 2010 - 61
American Cinematographer - September 2010 - 62
American Cinematographer - September 2010 - 63
American Cinematographer - September 2010 - A Beatle’s Upbringing (Nowhere Boy)
American Cinematographer - September 2010 - 65
American Cinematographer - September 2010 - 66
American Cinematographer - September 2010 - 67
American Cinematographer - September 2010 - 68
American Cinematographer - September 2010 - 69
American Cinematographer - September 2010 - 70
American Cinematographer - September 2010 - 71
American Cinematographer - September 2010 - 72
American Cinematographer - September 2010 - 73
American Cinematographer - September 2010 - Romans on the Run (Centurion)
American Cinematographer - September 2010 - 75
American Cinematographer - September 2010 - 76
American Cinematographer - September 2010 - 77
American Cinematographer - September 2010 - 78
American Cinematographer - September 2010 - 79
American Cinematographer - September 2010 - 80
American Cinematographer - September 2010 - 81
American Cinematographer - September 2010 - Where Cinematography Lives (ASC Clubhouse Renovation)
American Cinematographer - September 2010 - 83
American Cinematographer - September 2010 - 84
American Cinematographer - September 2010 - 85
American Cinematographer - September 2010 - Post Focus: Lottery Ticket
American Cinematographer - September 2010 - 87
American Cinematographer - September 2010 - 88
American Cinematographer - September 2010 - 89
American Cinematographer - September 2010 - Filmmakers’ Forum: David McFarland on Black Tulip
American Cinematographer - September 2010 - 91
American Cinematographer - September 2010 - 92
American Cinematographer - September 2010 - 93
American Cinematographer - September 2010 - New Products & Services
American Cinematographer - September 2010 - 95
American Cinematographer - September 2010 - 96
American Cinematographer - September 2010 - 97
American Cinematographer - September 2010 - 98
American Cinematographer - September 2010 - 99
American Cinematographer - September 2010 - 100
American Cinematographer - September 2010 - 101
American Cinematographer - September 2010 - 102
American Cinematographer - September 2010 - 103
American Cinematographer - September 2010 - International Marketplace
American Cinematographer - September 2010 - Classified Ads/Ad Index
American Cinematographer - September 2010 - 106
American Cinematographer - September 2010 - 107
American Cinematographer - September 2010 - ASC Membership Roster
American Cinematographer - September 2010 - 109
American Cinematographer - September 2010 - Clubhouse News
American Cinematographer - September 2010 - 111
American Cinematographer - September 2010 - ASC Close-Up: Dejan Georgevich
American Cinematographer - September 2010 - Cover3
American Cinematographer - September 2010 - Cover4
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