American Cinematographer - November 2016 - 10

Editor's Note
The Evil Dead franchise was first unleashed upon audiences in
1981, delighting horror fans with its gonzo blend of gory
violence, outrageous humor and cartoon-like visual gags. The
original movie's eccentric, ultra-kinetic camerawork (by cinematographer Tim Philo) launched the careers of director Sam
Raimi and lantern-jawed star Bruce Campbell (playing
resourceful Deadite-killer Ash, who has since evolved into a
chainsaw-wielding cult hero).
The Starz network brought Ash and his gruesome
antics to television viewers last season with Ash vs Evil Dead, a
series shot on location in Auckland, New Zealand. Cinematographers Dave Garbett and John Cavill shared the workload on
the 10 episodes of season one; for season two, Garbett shot
seven episodes with Kevin Riley serving as director of photography for three. Assessing the
show's style for AC's Australian correspondent, Simon Gray ("Return of the King," page 30),
Garbett notes that he and Cavill set out to honor the look and feel of the original films. "The
main idea John and I had for the camerawork was to always have some form of movement, a
background tremor or resonance that maintains a constant visual tension."
The Birth of a Nation treads more wrenching, historical terrain in its depiction of the 1831
slave rebellion led by Nat Turner. Director and star Nate Parker, who also co-wrote the movie's
screenplay, had an ambitious plan to create a period drama on an indie budget. Helping him to
achieve this vision was cinematographer Elliot Davis, who reveals to Patricia Thomson ("Rising
Up," page 40) that the movie is actually "about the present reality of America. We never wanted
the audience to forget that." Furthering that goal, "the filming technique is almost all handheld,
with Steadicam and the occasional dolly shot," he says. "This was to ensure the feeling of
modern immediacy."
Also featured this month are projects that called for their respective cinematographers to
create cerebrally motivated but action-driven suspense (The Accountant, shot by Seamus McGarvey, ASC, BSC), and a fantastical blend of visual effects, 2D animation and live action (A Monster
Calls, shot by Óscar Faura). Veteran correspondents Mark Dillon ("Connecting the Pieces," page
50) and Michael Goldman ("A Friend in Need," page 62) have crafted thorough overviews of
each production.

This month's In Memoriam (page 84), penned by managing editor Jon D. Witmer, honors
the memory of a true ASC stalwart: cinematographer Frederic Goodich, who passed away on
August 30 at age 76.
Fred's passion for cinematography was equalled only by his devotion to film students and
the ASC. At the time of his passing he had recently been elected to a sixth consecutive term as
secretary of the Society's Board of Governors, while also serving as chairman of the International
Committee and as an enthusiastic member of the Spotlight Award Committee. His many other
achievements are saluted in Jon's piece.
All of us here at the magazine will miss Fred's boundless energy and tireless contributions
to the realm of cinematography. I also appreciated his wry humor and his eclectic taste in movies,
which led to many long and lively "cineaste chats."

10

Stephen Pizzello
Editor-in-Chief and Publisher

Photo by Owen Roizman, ASC.

***



American Cinematographer - November 2016

Table of Contents for the Digital Edition of American Cinematographer - November 2016

Contents
American Cinematographer - November 2016 - Intro
American Cinematographer - November 2016 - Cover1
American Cinematographer - November 2016 - Cover2
American Cinematographer - November 2016 - 1
American Cinematographer - November 2016 - 2
American Cinematographer - November 2016 - Contents
American Cinematographer - November 2016 - 4
American Cinematographer - November 2016 - 5
American Cinematographer - November 2016 - 6
American Cinematographer - November 2016 - 7
American Cinematographer - November 2016 - 8
American Cinematographer - November 2016 - 9
American Cinematographer - November 2016 - 10
American Cinematographer - November 2016 - 11
American Cinematographer - November 2016 - 12
American Cinematographer - November 2016 - 13
American Cinematographer - November 2016 - 14
American Cinematographer - November 2016 - 15
American Cinematographer - November 2016 - 16
American Cinematographer - November 2016 - 17
American Cinematographer - November 2016 - 18
American Cinematographer - November 2016 - 19
American Cinematographer - November 2016 - 20
American Cinematographer - November 2016 - 21
American Cinematographer - November 2016 - 22
American Cinematographer - November 2016 - 23
American Cinematographer - November 2016 - 24
American Cinematographer - November 2016 - 25
American Cinematographer - November 2016 - 26
American Cinematographer - November 2016 - 27
American Cinematographer - November 2016 - 28
American Cinematographer - November 2016 - 29
American Cinematographer - November 2016 - 30
American Cinematographer - November 2016 - 31
American Cinematographer - November 2016 - 32
American Cinematographer - November 2016 - 33
American Cinematographer - November 2016 - 34
American Cinematographer - November 2016 - 35
American Cinematographer - November 2016 - 36
American Cinematographer - November 2016 - 37
American Cinematographer - November 2016 - 38
American Cinematographer - November 2016 - 39
American Cinematographer - November 2016 - 40
American Cinematographer - November 2016 - 41
American Cinematographer - November 2016 - 42
American Cinematographer - November 2016 - 43
American Cinematographer - November 2016 - 44
American Cinematographer - November 2016 - 45
American Cinematographer - November 2016 - 46
American Cinematographer - November 2016 - 47
American Cinematographer - November 2016 - 48
American Cinematographer - November 2016 - 49
American Cinematographer - November 2016 - 50
American Cinematographer - November 2016 - 51
American Cinematographer - November 2016 - 52
American Cinematographer - November 2016 - 53
American Cinematographer - November 2016 - 54
American Cinematographer - November 2016 - 55
American Cinematographer - November 2016 - 56
American Cinematographer - November 2016 - 57
American Cinematographer - November 2016 - 58
American Cinematographer - November 2016 - 59
American Cinematographer - November 2016 - 60
American Cinematographer - November 2016 - 61
American Cinematographer - November 2016 - 62
American Cinematographer - November 2016 - 63
American Cinematographer - November 2016 - 64
American Cinematographer - November 2016 - 65
American Cinematographer - November 2016 - 66
American Cinematographer - November 2016 - 67
American Cinematographer - November 2016 - 68
American Cinematographer - November 2016 - 69
American Cinematographer - November 2016 - 70
American Cinematographer - November 2016 - 71
American Cinematographer - November 2016 - 72
American Cinematographer - November 2016 - 73
American Cinematographer - November 2016 - 74
American Cinematographer - November 2016 - 75
American Cinematographer - November 2016 - 76
American Cinematographer - November 2016 - 77
American Cinematographer - November 2016 - 78
American Cinematographer - November 2016 - 79
American Cinematographer - November 2016 - 80
American Cinematographer - November 2016 - 81
American Cinematographer - November 2016 - 82
American Cinematographer - November 2016 - 83
American Cinematographer - November 2016 - 84
American Cinematographer - November 2016 - 85
American Cinematographer - November 2016 - 86
American Cinematographer - November 2016 - 87
American Cinematographer - November 2016 - 88
American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
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