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2008 / 09 - September Issue of American Cinematographer

The Duchess
Gyula Pados (whose credits as a cinematographer include the dramas Kontroll and Evening) was behind the camera on this period drama, which chronicles the life of 18th-century aristocrat Georgiana, Duchess of Devonshire (played by Keira Knightley), who was reviled for her extravagant political and personal lives. Pados details his work at locations throughout England.

César Charlone, ABC
reteamed with director Fernando Meirelles on this drama about a mysterious affliction that causes an entire city to go blind. The filmmakers discuss their decision to shoot in multiple formats (including 65mm VistaVision) at locations in Canada, Uruguay and Brazil.

No Subtitles Necessary: Laszlo & Vilmos
James Chressanthis, ASC
collaborated with director of photography Anka Malatynska and other cinematographers on this documentary about two of the ASC’s favorite sons: Hungarian cameramen Vilmos Zsigmond and Laszlo Kovacs, who chronicled the Hungarian revolution during their youth and made a dangerous pilgrimage to the United States to present their work. Their experiences during and after this adventure led to a lifelong friendship and careers as top Hollywood cinematographers. To get the whole story, Chressanthis interviewed a slew of prominent entertainment-industry veterans who befriended and worked with the duo, including Jon Voight, Sandra Bullock, Sharon Stone, Rachel Miner, Dennis Hopper, Barbra Streisand, John Williams, Karen Black, Peter Bogdanovich, Richard Donner, Irwin Winkler and Mark Rydell.

Lola Montes restoration
This in-depth article details the extensive restoration of director Max Ophüls’ final masterwork, released in December 1955. The picture became known as one of cinema history’s most abused and neglected films after being chopped up, mutilated and re-edited against Ophüls’ wishes. The ambitious restoration was guided by Ophüls’ son, Marcel, and realized through a collaboration involving François Ede (who had previously worked on the restoration of Jacques Tati’s Playtime), the Thomson Foundation (which provided access to the Technicolor laboratory in Burbank, California) and the Franco-American Cultural Fund.

The September issue’s departments also offer illuminating insights:

Global Village recaps the lavish 50th anniversary celebration staged in Sydney, Australia by the Australian Cinematographers Society (ACS). AC’s Australian correspondent, Simon Gray, Offer a firsthand account of the festivities, which he attended in late May.

Short Takes offers thoughts from Hiro Narita, ASC about the stylish noir cinematography he lent to the 25-minute short film A Perfect Place.

Production Slate presents an interview with cinematographer Igor Martinovic about Man on Wire, an award-winning documentary about Philippe Petit, who thrilled the world in the summer of 1974 when he snuck to the top of the World Trade Center towers and performed the greatest high-wire walk in history. This section also present details about The Last Enemy, a British miniseries shot by Nigel Willoughby and directed by Iain MacDonald.

Post Focus spotlight the anti-terror PSAs “Alley” and “Match,” directed by ASC member Jan DeBont and shot by Amir Mokri, with visual effects by Ntropic. The spots were produced for NoTerror.Info, an organization that campaigns against terrorism in Iraq.

ASC Close-Up offers a profile of cinematographer and visual-effects supervisor Pete Kozachik, ASC, a stop-motion expert whose credits include The Nightmare Before Christmas, James and the Giant Peach, Corpse Bride and the upcoming feature Coraline.

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2008 / 09 - September Issue of American Cinematographer


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