American Cinematographer - December 2014 - 10

It's never easy to make a movie that conveys the
majesty and mysteries of space travel. While mounting 2001: A Space Odyssey in the late 1960s, Stanley
Kubrick and his crack team used every means at their
disposal to create a cerebral, technically stunning epic
that set the platinum standard for grandeur. Since
then, features such as Solaris, The Right Stuff, Apollo
13 and Gravity have all put their own spin on the
space opera, but director Christopher Nolan and cinematographer Hoyte van Hoytema, FSF, NSC sought to
raise the technical bar even higher with Interstellar.
As Iain Stasukevich reports ("Cosmic Odyssey,"
page 38), approximately 60 to 70 minutes of the
film's 170-minute run time was filmed in 15-perf
65mm Imax. The production also involved 35mm
anamorphic, 8-perf VistaVision, creative lighting
gags, miniatures, front-projection effects, and custom
body mounts that housed both the actors and Imax cameras - a rig van Hoytema describes as
"an Imax GoPro," which "let us [capture] visceral angles that are normally only possible with a
GoPro camera, but in 15-perf 65mm!"
On Fury, Roman Vasyanov, RGC was tasked with capturing many scenes in the cramped
interior of a World War II tank. As detailed in Michael Goldman's article ("Rolling Thunder,"
page 68), Vasyanov, director David Ayer and key crewmembers mapped out carefully devised
strategies before shooting began on sets and locations in England. "We bet the farm on the
plan we came up with in prep, and I'm happy to say we got the movie we came for," Ayer
submits. "A lot of that is because I had so much trust in Roman, who was so efficient, and the
fact that our grips were total rock stars."
Emmanuel Lubezki, ASC, AMC dramatized a different kind of battle on the blackhumored Birdman, in which a former Hollywood action hero suffers a mental meltdown while
attempting to direct and star in a "serious" Broadway play. In Jean Oppenheimer's piece ("Backstage Drama," page 54), Lubezki, director Alejandro Iñárritu and members of their crew reveal
how they crafted a feature that appears to unfold in one long, continuous take. "The rhythm
in comedy [comes from] great comedians but also from great editing, and to not have any cuts
was one of the craziest ideas I had ever heard," says Lubezki.
Brooding emotions also drive the drama in Foxcatcher, a feature based on the true relationship between Olympic gold-medal wrestlers Mark and Dave Schultz and their wealthy
patron, John Eleuthère du Pont. Greig Fraser, ASC, ACS and director Bennett Miller discussed
their work with Canadian correspondent Mark Dillon during the Toronto Film Festival, where
the picture drew raves ("Tragedy on the Mat," page 80). Miller felt Fraser had the right sensibilities to help him tell an "observational" story in which the characters' true feelings are
suppressed. "There is an invisible perspective and voice to this film," he says, "and it's important that the person looking through the eyepiece is looking not just at pretty frames, nice
movement and 'good light,' but at people lying to themselves in a way that will lead to
tragedy."

Stephen Pizzello
Editor-in-Chief and Publisher
10

Photo by Owen Roizman, ASC.

Editor's Note



American Cinematographer - December 2014

Table of Contents for the Digital Edition of American Cinematographer - December 2014

Contents
American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
American Cinematographer - December 2014 - Contents
American Cinematographer - December 2014 - 4
American Cinematographer - December 2014 - 5
American Cinematographer - December 2014 - 6
American Cinematographer - December 2014 - 7
American Cinematographer - December 2014 - 8
American Cinematographer - December 2014 - 9
American Cinematographer - December 2014 - 10
American Cinematographer - December 2014 - 11
American Cinematographer - December 2014 - 12
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American Cinematographer - December 2014 - 14
American Cinematographer - December 2014 - 15
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American Cinematographer - December 2014 - 18
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American Cinematographer - December 2014 - 27
American Cinematographer - December 2014 - 28
American Cinematographer - December 2014 - 29
American Cinematographer - December 2014 - 30
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American Cinematographer - December 2014 - 33
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American Cinematographer - December 2014 - 36
American Cinematographer - December 2014 - 37
American Cinematographer - December 2014 - 38
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American Cinematographer - December 2014 - 40
American Cinematographer - December 2014 - 41
American Cinematographer - December 2014 - 42
American Cinematographer - December 2014 - 43
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American Cinematographer - December 2014 - 45
American Cinematographer - December 2014 - 46
American Cinematographer - December 2014 - 47
American Cinematographer - December 2014 - 48
American Cinematographer - December 2014 - 49
American Cinematographer - December 2014 - 50
American Cinematographer - December 2014 - 51
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American Cinematographer - December 2014 - 53
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American Cinematographer - December 2014 - 68
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American Cinematographer - December 2014 - 73
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American Cinematographer - December 2014 - Cover3
American Cinematographer - December 2014 - Cover4
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