American Cinematographer - September 1990 - 52

Joel & Ethan Coen

Working out of that
"improvisational approach" al¬
lowed storyboards for only two
sequences. Both are cornerstones

"MILLER'S CROSSING"
Martin Scorsese

of the movie. The first sequence is
the love scene where Bleek loses
track of which woman he is in bed

"GOODFELLAS"

Alan Pakula

with, and the second is the alley

"PRESUMED INNOCENT"

fight that is intercut with Bleek's
performance at The Underdog.
The 39-year-old Dickerson, who has a particularly "the¬
atrical" lighting style - using
gels, light cues on dimmers, etc.

Spike Lee
"MO BETTER BLUES"

Jonathan Demme
"SILENCE OF THE LAMBS"

"Thank you
a

for making our first year
very successful one."

-

cites the influence of Vittorio

Storaro, Nestor Almendros,

Robby Muller, Vilmos Zsigmond
and Allen Daviau (all ASC mem¬
bers). Dickerson notes that these
cameramen

about

have influenced

everybody of

"just

my genera¬

tion."

C5

On the
eration and

subject of his gen¬
particularly his gen¬

eration of black

Sound

cameramen

(which includes Bill Dill, who

Editing

shot Robert Townsend's The Five
C5, Inc. 40 W 27 St., NYC 10001 212 696 1154

Heartbeats), Dickerson says, "I'm
happy to be part of the new wave
of black filmmakers. The film

industry seems to cry out for new
This new wave of
filmmakers will help fill the void.
We have barely scratched the
surface of the Black Experience on
film. If this wave continues, I feel
we will make
significant contribu¬
tions to world cinematic culture."
Dickerson genuinely en¬
stories.

KALEIDOSCOPE
HOT HEAD II

EGRIPMENT
CRANES

joys the filmmaking process, and
sees
filmmaking as just that, a
process; not a product to be
cranked out

Sale, Rent,

or Lease

FLETCHER
-

on

schedule, with

a

generic slickness. "Each script is
different," Dickerson says, "Each

Available for

CHICAGO, INC.

Downtown Location

1062 West Huron Street

-

Chicago, IL 60622

800-635-3824

Call and write for your free

Rental Catalog

tells its own story with different
characters and emotions. It is that
which determines the look of the
film. This is why each film should
look different. Besides, why do
the same thing twice? It's more
fun to try something different on

shoot."
The joy Dickerson gets
from shooting is apparent to any¬
one
watching the progression of
every

his camerawork. Or to borrow a
line from the movie, "the mo'
better it is, the mo' better it is." A



American Cinematographer - September 1990

Table of Contents for the Digital Edition of American Cinematographer - September 1990

American Cinematographer - September 1990 - 1
American Cinematographer - September 1990 - 2
American Cinematographer - September 1990 - 3
American Cinematographer - September 1990 - 4
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American Cinematographer - September 1990 - 92
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