I’m Not There
Ed Lachman, ASC analyzes the intriguing challenges he faced on this adventurous and experimental Todd Haynes feature, which traces the life of musical icon Bob Dylan in unorthodox fashion. Different aspects of Dylan’s persona are embodied by various characters played by Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere, Heath Ledger and Ben Whishaw. Lachman will discuss the full range of looks he crafted for the show, placing a special emphasis on his lighting techniques. He will also discuss his use of both color and black-and-white stocks in multiple formats: 35mm, 16mm, Super 16 and 8mm.
The Kite Runner
Roberto Schaefer, ASC was director of photography on this adaptation of the best-selling 2003 novel by Afghan-American author Khaled Hosseini, who tells the story of Amir, a boy from the Afghanistan town of Kabul who is haunted by the guilt of an incident involving a childhood friend. Schaefer will offer his thoughts on the production, which shot at locations in California and China (standing in for war-torn Afghanistan).
30 Days of Night
Jo Willems was behind the camera on this chiller about a bloodthirsty gang of vampires attacking an Alaskan town that is plunged into darkness for a full month each year. Australian correspondent Simon Gray paid a visit to the set in Auckland, New Zealand to get the full story from Willems, who will discuss his strategies for visually adapting the graphic novel written by Ben Niles and illustrated by Ben Templesmith.
Martin Ruhe crafted gritty, smartly composed black-and-white images for this haunting bio-pic about English rock star Ian Curtis, who fronted the influential alternative band Joy Division before committing suicide by hanging at the age of 23. Ruhe will discuss his evocative approach to this story and his collaboration with Dutch director Anton Corbijn, well-known in the rock world for his photography (he has served as creative director for the bands Depeche Mode and U2, among others) and striking music videos (including Depeche Mode’s “Personal Jesus” and Nirvana’s “Heart-Shaped Box”).
The November issue's departments will also offer illuminating insights:
DVD Playback reviews new DVD versions of Invasion of the Body Snatchers (1978), shot by Michael Chapman, ASC; Flash Gordon (1980), shot by Gilbert Taylor, BSC; and Robocop (1987), shot by Jost Vacano, ASC.
Production Slate offers articles on The Martian Child, shot by Robert Yeoman, ASC, and Sarah Landon and the Paranormal Hour, shot by Andy Keupper.
Points East presents an interview with Harlan Bosmajian about his digital cinematography on the hi-def, Manhattan-based drama Starting Out in the Evening.
Short Takes offers an interview with cinematographer Jim Matlosz about his work on “Slow Dancing,” a video installation at Lincoln Center that uses high-definition video technology to show 43 ballet dancers moving at less than 1/100th of their original speed.
Post Focus examines how the digital-intermediate process is being used at LaserPacific to lend a highly stylized look to Pushing Daisies, a new ABC television series shot by Michael Weaver (pilot) and Jamie Anderson (series) for director Barry Sonnenfeld.