Lady in the Water
Christopher Doyle, HKSC teamed with imaginative director M. Night Shyamalan on this fanciful tale about an apartment-building superintendent (Paul Giamatti) who rescues a young woman (Bryce Dallas Howard) from the pool he maintains, only to discover that she is actually a character from a bedtime story who is trapped in our world.
Miami Vice Dion Beebe, ASC, ACS was selected by director Michael Mann to shoot this action-packed feature based on the wildly popular television series that Mann executive-produced during the 1980s.
World Trade Center Seamus McGarvey, BSC teamed with provocative director Oliver Stone on this fact-based drama about two Port Authority police officers (Nicolas Cage and Michael Pena) who become trapped in the rubble of the World Trade Center during the terrorist attacks of September 11, 2001.
Snakes on a Plane Adam Greenberg, ASC was behind the camera on this action thriller, in which an assassin attempts to kill a witness in protective custody by releasing a crateful of snakes on a flight over the Pacific Ocean.
The August issue’s departments will also offer illuminating insights:
- Global Village goes behind the scenes on the Sony Pictures Classics feature The House of Sand, shot in Brazil by cinematographer Ricardo Della Rosa.
- DVD Playback presents reviews of three memorable films from the 1970s: The Deer Hunter (1978) shot by Vilmos Zsigmond, ASC; The Towering Inferno (1974), shot by Fred J. Koenekamp, ASC; and The Poseidon Adventure (1972), shot by Harold E. Stine, ASC.
- Production Slate includes coverage of Factotum, a literary drama shot by John Christian Roselund, and The Night Listener, a psychological thriller shot by Lisa Rinzler.
- Points East presents an interview with cinematographer Pascal Rabaud about his work on Idlewild, a musical drama set in the Prohibition-era South.
- Short Takes analyzes an eye-opening series of Snickers candy-bar commercials that were shot with the Dalsa Origin camera.
- Post Focus presents a discussion with visual-effects expert Gray Marshall about the collaboration between VFX supervisors and cinematographers.