The September 2013 issue of American Cinematographer magazine, which focuses on international production.
Trent Opaloch shot this action drama that imagines life in the year 2154, when the wealthy reside on a man-made space station called Elysium and the poor are left to survive on a nearly destroyed Earth. When Max De Costa (Matt Damon) is diagnosed with terminal cancer on Earth, he decides to take on a dangerous mission in order to save his own life. Opaloch reteamed with writer/director Neil Blomkamp (District 9) and used multiple Red Epic cameras (in 5K anamorphic mode with Panavision anamorphic lenses) to capture the film on stage in Vancouver and on location at one of the world's largest landfills in Mexico City.
Only God Forgives (Radius-TWC)
Larry Smith, BSC continues his collaboration with Danish director Nicolas Winding Refn (Bronson, Drive) on this atmospheric revenge thriller shot in Thailand. Ryan Gosling stars as Julian, a Bangkok drug smuggler whose life is further complicated when his mother (Kristen Scott Thomas) urges him to track down and kill those responsible for his brother's death. Smith and Refn discuss the working conditions they faced abroad and detail how they created the movie's rich, color-saturated imagery.
The World's End (Focus Features)
Bill Pope, ASC paired once again with writer/director Edgar Wright (Shaun of the Dead, Scott Pilgrim vs. the World) on this sci-fi comedy that follows middle-aged Gary King (Simon Pegg) as he tries to convince his four childhood pals to complete a pub crawl they began 20 years prior. Kings succeeds in getting his friends to play along, but when they reach the final pub on their list, The World's End, they realize they may actually need to combat the apocalypse.
Ain't Them Bodies Saints (IFC Films)
Bradford Young teamed with writer/director David Lowery to craft an American myth set against the Texas landscape in the late 1970s. After four years in jail, Bob Muldoon (Casey Affleck) escapes and aims to reunite with Ruth Guthrie (Rooney Mara) and their young daughter, only to find his journey complicated by a sheriff's deputy (Ben Foster) and an outlaw gang. Young details the location shoot in Louisiana and Texas, and explain how he worked at bold levels of underexposure while shooting in 3-perf Super 35mm for a final aspect ratio of 2.40:1.
The September issue's departments also offer interesting highlights:
- Short Takes details the creative approaches cinematographer James Laxton took while shooting the music video "White Noise" for the band Exitmusic.
- Production Slate offers an interview with French cinematographer Thierry Arbogast, AFC about his work on the Farsi drama The Patience Stone, as well as an overview of a fall exhibition on legendary Mexican cinematographer Gabriel Figueroa, AMC at the Los Angeles County Museum of Art.
- Post Focus details the post work handled by Deluxe for the Cuban feature film Una Noche, shot by Trevor Forrest.
- ASC Close-Up profiles Society member Ron Fortunato, whose feature credits include Before The Devil Knows You're Dead, Find Me Guilty and the 1997 Plus Camerimage Silver Frog-winning drama Nil By Mouth. Fortunato has also lent his talents to a number of television series, including Gossip Girl, Pan Am and Elementary.