Based on the novel by Richard Yates, Revolutionary Road depicts the crumbling marriage of an appealing young couple (played by Leonardo DiCaprio and Kate Winslet) who appear to have it all. The picture, set in 1955, reunited director Sam Mendes and cinematographer Roger Deakins, ASC, BSC, and marks a dramatic departure from their first collaboration, Jarhead (2005). Roger’s selflessness in adapting his style to the requirements of the story at hand is remarkable and it is selflessness, Mendes tells AC senior editor Rachael K. Bosley. He’s a master at cutting a suit according to its cloth. For this story, says Deakins, the key was simplicity. It’s a film about a marriage falling apart in this supposedly idyllic suburbia, he says. When you’ve got a story like that and two great actors, you want to see them act; you don’t need or want to do anything that messes about with that. AC’s coverage includes an interview with set decorator Debra Schutt, who was tasked with locating or creating the practicals that were integral to Deakins lighting scheme.
The Curious Case of Benjamin Button
Claudio Miranda discusses his collaboration with director David Fincher on this visually ambitious adapation of F. Scott Fitzgerald’s 1922 short story about a man who ages backwards with strange and surreal consequences. Miranda explain his aesthetic approach to the eight decades depicted in the film, and also offers his thoughts on working with the Thomson/Grass Valley Viper FilmStream camera and workflow.
Eduardo Serra, ASC, AFC went on location to the Republic of Lithuania with writer/director Ed Zwick to shoot this epic World War II drama. The film tells the tale of three Jewish brothers who escape from Nazi-occupied Poland into the Belarussian Forest, where they join Russian resistance fighters in an attempt to build a village that will help protect themselves and others. Serra discusses the production’s location work and his working relationship with Zwick, for whom he previously shot Blood Diamond.
ASC Lifetime Achievement Award
Jack Green, ASC received the ASC Lifetime Achievement Award at the 23rd Annual ASC Awards ceremony that was held in Los Angeles on February 15, 2009. The Lifetime Award is the Society's highest honor, presented annually to an individual cinematographer who has demonstrated a commitment to excellence over an entire career. Green certainly meets the criterium. He has shot many films for actor/director Clint Eastwood, including Unforgiven (for which he earned Academy Award and BAFTA nominations), The Bridges of Madison County (for which he received an ASC Award nomination), Bird, The Dead Pool, White Hunter Black Heart, The Rookie, A Perfect World, Midnight in the Garden of Good and Evil, True Crime and Space Cowboys. His other credits include Pink Cadillac, Rookie of the Year, The Net, Twister, Speed 2: Cruise Control, Secondhand Lions, 50 First Dates, The 40-Year-Old Virgin and My Best Friend’s Girl. Rachael Bosley, AC contributor Jon Silberg will pen a comprehensive overview of Green’s life and work.
The January issue’s departments also offer illuminating insights:
Short Takes breaks down the innovative approach cinematographer Raoul Germain took to the art installation Triangle of Need, which he shot in a variety of different formats.
Production Slate includes an interview with Sal Totino, ASC about this photography for the intense drama Frost/Nixon, directed by Ron Howard. We also seek out cinematographer Maryse Alberti, director Darren Aronofsky and members of their crew to discuss the critically acclaimed indie drama The Wrestler.
Post Focus presents a step-by-step account of how FotoKem helped director Beth McElhenny and cinematographer Chun Ming Huang transfer their short film Still Me from the MiniDV format to 35mm in order to meet the technical requirements for Academy Award consideration.
ASC Close-Up offers a profile of cinematographer Gabriel Beristain, ASC, BSC, whose feature-film credits include Dolores Claiborne, The Spanish Prisoner, Blade: Trinity, The Ring Two and The Invisible.