American Cinematographer - October 2009 - 31
Unit photos courtesy of AMC. Additional photos courtesy of Louie Escobar. DVD frames ©2008 Lions Gate Television. Used with permission. AC visited the set of the secretive production, during the filming of episode six, only a few details in the scene at hand revealed additional information: Tiny British flags dotted every desk in the bullpen, suggesting that Sterling Cooper’s new owners had crossed the pond for a visit, and Cartwright was among the actors shedding his shoes to play a scene in Cooper’s office, indicating that his character had so far survived the “gynocracy” of his new environment. As 1st AD Adam Ben Frank marshaled the troops for director Lesli Linka Glatter, the show’s director of photography, Christopher Manley, ASC, used the short breaks between setups to point out some of the lighting changes he and his crew had made to the office set since he came aboard the production last year. “There’s a virtue to sticking with one show for a while, which is that you go into the specific problems of the photography really deeply, and you learn — you have to,” observes Manley, whose résumé includes ASC Award-nominated episodes of CSI: NY and Threat Matrix. “It’s surprising, the things I’m still learning on this show.” A few weeks later, on the heels of the announcement that he had earned one of Mad Men’s 16 Emmy Award nominations for 2008, Manley met with AC to detail some aspects of that learning curve. American Cinematographer: We should begin by talking about how you landed Mad Men. Was it something on your reel that caught [series creator] Matthew Weiner’s eye? Christopher Manley, ASC: I don’t remember discussing many specifics about my reel with Matt. I did hear him tell one of the actors These pages show three scenes in this year’s first episode, “Out of Town.” Opposite: Joan Holloway (Christina Hendricks, center) details which accounts have been assigned to Pete Campbell (Vincent Kartheiser, foreground left) and Ken Cosgrove (Aaron Staton, foreground right), the new coheads of account services. New CFO Lane Pryce (Jared Harris, background right) and TVdepartment head Harry Crane (Rich Sommer, background left) devised the assignments. This page, top (from left): Burt Peterson (Michael Gaston), Pryce, Bert Cooper (Robert Morse) and Don Draper (Jon Hamm) react to Roger Sterling’s late arrival at a grim meeting — Peterson has just been laid off. Bottom: Crane, Campbell and Paul Kinsey (Michael Gladis) witness Peterson’s subsequent meltdown in the bullpen. American Cinematographer 31
American Cinematographer - October 2009
Table of Contents for the Digital Edition of American Cinematographer - October 2009
American Cinematographer - October 2009
Contents
Editor’s Note
President's Desk
Short Takes: The Maine's "Into Your Arms"
Production Slate: The National Parks: America’s Best IdeaGeorgia O’Keeffe
Pitch Perfect
Hard Time
A Lyrical Love
Vicarious Thrills
Post Focus: Red Dwarf: Back to Earth
New Products & Services
International Marketplace
Classified Ads/Ad Index
Clubhouse News
ASC Close-Up: Lowell Peterson
American Cinematographer - October 2009 - American Cinematographer - October 2009
American Cinematographer - October 2009 - Cover2
American Cinematographer - October 2009 - 1
American Cinematographer - October 2009 - 2
American Cinematographer - October 2009 - Contents
American Cinematographer - October 2009 - 4
American Cinematographer - October 2009 - 5
American Cinematographer - October 2009 - 6
American Cinematographer - October 2009 - 7
American Cinematographer - October 2009 - Editor’s Note
American Cinematographer - October 2009 - 9
American Cinematographer - October 2009 - President's Desk
American Cinematographer - October 2009 - 11
American Cinematographer - October 2009 - Short Takes: The Maine's "Into Your Arms"
American Cinematographer - October 2009 - 13
American Cinematographer - October 2009 - 14
American Cinematographer - October 2009 - 15
American Cinematographer - October 2009 - 16
American Cinematographer - October 2009 - 17
American Cinematographer - October 2009 - Production Slate: The National Parks: America’s Best IdeaGeorgia O’Keeffe
American Cinematographer - October 2009 - 19
American Cinematographer - October 2009 - 20
American Cinematographer - October 2009 - 21
American Cinematographer - October 2009 - 22
American Cinematographer - October 2009 - 23
American Cinematographer - October 2009 - 24
American Cinematographer - October 2009 - 25
American Cinematographer - October 2009 - 26
American Cinematographer - October 2009 - 27
American Cinematographer - October 2009 - 28
American Cinematographer - October 2009 - 29
American Cinematographer - October 2009 - Pitch Perfect
American Cinematographer - October 2009 - 31
American Cinematographer - October 2009 - 32
American Cinematographer - October 2009 - 33
American Cinematographer - October 2009 - 34
American Cinematographer - October 2009 - 35
American Cinematographer - October 2009 - 36
American Cinematographer - October 2009 - 37
American Cinematographer - October 2009 - 38
American Cinematographer - October 2009 - 39
American Cinematographer - October 2009 - 40
American Cinematographer - October 2009 - 41
American Cinematographer - October 2009 - 42
American Cinematographer - October 2009 - 43
American Cinematographer - October 2009 - Hard Time
American Cinematographer - October 2009 - 45
American Cinematographer - October 2009 - 46
American Cinematographer - October 2009 - 47
American Cinematographer - October 2009 - 48
American Cinematographer - October 2009 - 49
American Cinematographer - October 2009 - 50
American Cinematographer - October 2009 - 51
American Cinematographer - October 2009 - 52
American Cinematographer - October 2009 - 53
American Cinematographer - October 2009 - 54
American Cinematographer - October 2009 - 55
American Cinematographer - October 2009 - 56
American Cinematographer - October 2009 - 57
American Cinematographer - October 2009 - A Lyrical Love
American Cinematographer - October 2009 - 59
American Cinematographer - October 2009 - 60
American Cinematographer - October 2009 - 61
American Cinematographer - October 2009 - 62
American Cinematographer - October 2009 - 63
American Cinematographer - October 2009 - 64
American Cinematographer - October 2009 - 65
American Cinematographer - October 2009 - Vicarious Thrills
American Cinematographer - October 2009 - 67
American Cinematographer - October 2009 - 68
American Cinematographer - October 2009 - 69
American Cinematographer - October 2009 - 70
American Cinematographer - October 2009 - 71
American Cinematographer - October 2009 - 72
American Cinematographer - October 2009 - 73
American Cinematographer - October 2009 - 74
American Cinematographer - October 2009 - 75
American Cinematographer - October 2009 - Post Focus: Red Dwarf: Back to Earth
American Cinematographer - October 2009 - 77
American Cinematographer - October 2009 - 78
American Cinematographer - October 2009 - 79
American Cinematographer - October 2009 - 80
American Cinematographer - October 2009 - 81
American Cinematographer - October 2009 - New Products & Services
American Cinematographer - October 2009 - 83
American Cinematographer - October 2009 - 84
American Cinematographer - October 2009 - 85
American Cinematographer - October 2009 - 86
American Cinematographer - October 2009 - 87
American Cinematographer - October 2009 - International Marketplace
American Cinematographer - October 2009 - 89
American Cinematographer - October 2009 - Classified Ads/Ad Index
American Cinematographer - October 2009 - Clubhouse News
American Cinematographer - October 2009 - ASC Close-Up: Lowell Peterson
American Cinematographer - October 2009 - Cover3
American Cinematographer - October 2009 - Cover4
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