American Cinematographer - December 2013 - S-1

December 2013
When John Lee Hancock called about Saving Mr. Banks, John
Schwartzman, ASC leapt at the opportunity. Although the
fi lm's budget paled in comparison to Schwartzman's previous
assignment, The Amazing Spider-Man, it was a chance to shift
gears and work on an adult drama with an old friend. "We're very
proud of the fi lm," says Schwartzman. "It's a very small movie, but
the story is compelling, and I think it's some of my best work."
The story is based on the fraught, real-life relationship between
Walt Disney (played by Tom Hanks) and P.L. Travers (Emma
Thompson), the Australian novelist who wrote the source
material for what eventually became Mary Poppins. The story
follows Disney as he cajoles and persuades the diffi cult Travers
through a long and arduous creative process. The time period
ranges from 1906 Australia to the 1961 opening of Disneyland
in Orange County, California,
and the Hollywood premiere
of Mary Poppins in 1964. That
fi lm won fi ve ACADEMY
AWARDS® and earned an
additional eight nominations,
still a record for a Disney fi lm.
Mary Poppins also helped
lay the groundwork for
Disney's long-term success
in live-action fi lmmaking.
Schwartzman and Hancock chose to shoot in 35mm
anamorphic format, as they had more than a decade ago on
Hancock's feature debut, The Rookie.
"Anamorphic is a beautiful way to shoot," Schwartzman
"Anamorphic is a beautiful
way to shoot. ...You can develop
says. "When Gordon Willis (ASC) did The Paper Chase, he
said that anamorphic is a very intimate format, and I'm a big
believer in that. I don't think it's necessarily just a landscape
format. I think it's an actor's format. You can shoot two actors
in a medium close-up in the same frame, which you can't
do in 1.85. In the anamorphic frame, you can let things play
- you don't need to cut as much. It allows you to move the
camera in a way that doesn't force you into as much cutting
coverage. You can develop really interesting moving masters
that cover things in a very cinematic way. If it were up to me,
I would shoot everything on
35mm anamorphic fi lm."
The lenses were
really interesting moving masters
that cover things in a very
cinematic way."
PANAVISION G Series
anamorphics, the same
set Schwartzman had used
on The Green Hornet. The
Primes were augmented
with ATW and ATZ
anamorphic zooms.

American Cinematographer - December 2013

Table of Contents for the Digital Edition of American Cinematographer - December 2013

Contents
American Cinematographer - December 2013 - Cover1
American Cinematographer - December 2013 - Cover2
American Cinematographer - December 2013 - Contents
American Cinematographer - December 2013 - 2
American Cinematographer - December 2013 - 3
American Cinematographer - December 2013 - 4
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American Cinematographer - December 2013 - 63
American Cinematographer - December 2013 - 64
American Cinematographer - December 2013 - S-1
American Cinematographer - December 2013 - S-2
American Cinematographer - December 2013 - S-3
American Cinematographer - December 2013 - S-4
American Cinematographer - December 2013 - S-5
American Cinematographer - December 2013 - S-6
American Cinematographer - December 2013 - S-7
American Cinematographer - December 2013 - S-8
American Cinematographer - December 2013 - S-9
American Cinematographer - December 2013 - S-10
American Cinematographer - December 2013 - S-11
American Cinematographer - December 2013 - S-12
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American Cinematographer - December 2013 - Cover3
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