American Cinematographer - December 2014 - 69

Unit photography by Giles Keyte, courtesy of Sony Pictures Entertainment, Inc.

Fury tells the story of a five-man
American tank crew commanded by a
battle-scarred veteran nicknamed
Wardaddy (Brad Pitt). After the crew
becomes separated from fellow U.S.
troops fighting their way toward Berlin,
they vow to leave their mark for the
Allies and make a final stand against
nearly impossible odds.
Ayer's screenplay and preferences
made it clear that the director and cinematographer would break away from
the handheld, multi-format, digital
approach of their first collaboration -
the police drama End of Watch (AC Oct.
'12) - in favor of more classical filmmaking. "This movie could not be more
traditionally shot as far as workflow and
equipment was concerned, totally
swinging the opposite way from what
we did before," Ayer remarks. "And
Roman was the guy I wanted to get it
done. He showed me some Soviet
movies that never screened in the U.S.,
and the photography in them was brilliant, with a naturalistic feel, all done by
using sticks and dollies and fluid heads
and track, with simple setups to yield
complex images. Those films were a
great inspiration for us."
"We wanted a different kind of
documentary feeling from what we
usually see in Hollywood war movies,"
Vasyanov explains. "We wanted lots of
cameras with long lenses, watching [the
action] almost from around the corner,
so to speak. If you watch World War II
[combat footage], as opposed to the still
photography, the cameramen were
shooting with long lenses through
multiple layers, like fences or walls. That
is where I got the idea of using lots of
long lenses - up to 1,000mm."
After extensive testing, the filmmakers also agreed that Fury should be
shot on film - in 35mm anamorphic
- rather than digitally. Vasyanov says
filmed tests sealed the deal not only
with Ayer, but with studio executives as
well, "because the imagery was so much
richer in the restricted palette we had
with the uniforms and the gray skies.
Once we started shooting and the
dailies came in, there was no more

This page:
Wardaddy (Brad
Pitt, top left)
commands an
American tank
crew in the
World War II
drama Fury,
directed by David
Ayer (middle,
right) and shot
by Roman
Vasyanov, RGC
(bottom).

www.theasc.com

December 2014

69



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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
American Cinematographer - December 2014 - 13
American Cinematographer - December 2014 - 14
American Cinematographer - December 2014 - 15
American Cinematographer - December 2014 - 16
American Cinematographer - December 2014 - 17
American Cinematographer - December 2014 - 18
American Cinematographer - December 2014 - 19
American Cinematographer - December 2014 - 20
American Cinematographer - December 2014 - 21
American Cinematographer - December 2014 - 22
American Cinematographer - December 2014 - 23
American Cinematographer - December 2014 - 24
American Cinematographer - December 2014 - 25
American Cinematographer - December 2014 - 26
American Cinematographer - December 2014 - 27
American Cinematographer - December 2014 - 28
American Cinematographer - December 2014 - 29
American Cinematographer - December 2014 - 30
American Cinematographer - December 2014 - 31
American Cinematographer - December 2014 - 32
American Cinematographer - December 2014 - 33
American Cinematographer - December 2014 - 34
American Cinematographer - December 2014 - 35
American Cinematographer - December 2014 - 36
American Cinematographer - December 2014 - 37
American Cinematographer - December 2014 - 38
American Cinematographer - December 2014 - 39
American Cinematographer - December 2014 - 40
American Cinematographer - December 2014 - 41
American Cinematographer - December 2014 - 42
American Cinematographer - December 2014 - 43
American Cinematographer - December 2014 - 44
American Cinematographer - December 2014 - 45
American Cinematographer - December 2014 - 46
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American Cinematographer - December 2014 - 48
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American Cinematographer - December 2014 - 50
American Cinematographer - December 2014 - 51
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American Cinematographer - December 2014 - 55
American Cinematographer - December 2014 - 56
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American Cinematographer - December 2014 - 63
American Cinematographer - December 2014 - 64
American Cinematographer - December 2014 - 65
American Cinematographer - December 2014 - 66
American Cinematographer - December 2014 - 67
American Cinematographer - December 2014 - 68
American Cinematographer - December 2014 - 69
American Cinematographer - December 2014 - 70
American Cinematographer - December 2014 - 71
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American Cinematographer - December 2014 - 86
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American Cinematographer - December 2014 - 101
American Cinematographer - December 2014 - 102
American Cinematographer - December 2014 - 103
American Cinematographer - December 2014 - 104
American Cinematographer - December 2014 - 105
American Cinematographer - December 2014 - 106
American Cinematographer - December 2014 - 107
American Cinematographer - December 2014 - 108
American Cinematographer - December 2014 - 109
American Cinematographer - December 2014 - 110
American Cinematographer - December 2014 - 111
American Cinematographer - December 2014 - 112
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