Here's the November 2015 issue of American Cinematographer magazine, which features a special focus on creative collaborations.
Hoyte van Hoytema, FSF, NSC, joined director Sam Mendes for the latter's second foray into the James Bond franchise — and the 24th film in the series overall. Following up on the events of 2012's Skyfall, Spectre brings to the screen the first confrontation between Agent 007 (Daniel Craig) and the eponymous criminal organization. AC visited the production onstage in the U.K., and our coverage includes a firsthand account of van Hoytema's work, which made use of both 35mm Kodak negative and Arri Alexa digital-camera systems.
The Martian and The Walk (20th Century Fox, Sony)
Dariusz Wolski, ASC, was behind the camera for director Ridley Scott's The Martian and Robert Zemeckis' The Walk. Adapted from the best-selling novel by Andy Weir, The Martian follows Mark Watney (Matt Damon), an astronaut on the red planet who survives a terrible storm only to discover he's been left for dead and has to fend for himself in the unforgiving environment. The Walk is based on the real-life exploits of high-wire walker Philippe Petit (Joseph Gordon-Levitt), who in 1974 strung a wire between the Twin Towers of New York City's World Trade Center. In a comprehensive Q&A, Wolski details his work on both productions.
Steve Jobs (Universal)
Alwin Küchler, BSC, partnered with director Danny Boyle to bring to the screen what promises to be a warts-and-all examination of the titular tech pioneer (portrayed by Michael Fassbender). With a script by Aaron Sorkin based on the official biography by Walter Isaacson, production got underway earlier this year in and around the San Francisco Bay Area. Küchler discusses his approach to the material as well as his collaboration with Boyle, for whom he had previously photographed 2007's Sunshine.
Dick Pope, BSC, teamed with director Brian Helgeland to tell the larger-than-life tale of two real-world gangsters — twin brothers Ronald and Reginald Kray (both played by Tom Hardy) — who operated in London in the 1950s and '60s. Pope speaks to the challenges posed by having Hardy play both lead roles, and to working on location throughout London for the production, which employed Arri Alexa cameras for ArriRaw capture.
The November issue's departments also offer illuminating insights:
- Short Takes goes behind the scenes of director Stéphane Dumonceau's Best Man Wins, photographed by Wes Cardino.
- Production Slate examines the award-winning German film Victoria, which was shot by Sturla Brandth Grøvlen and presents its story in one unbroken shot. This section also shines a light on cinematographer Alice Brooks' work behind the camera for director Jon M. Chu's Jem and the Holograms.
- Filmmakers' Forum catches up with George Spiro Dibie, ASC, for a look at the ASC's many educational outreach programs.
- ASC Close-Up spotlights Society member Mark Vargo, whose credits as second-unit director of photography include the features In the Line of Fire, The Green Mile, The Patriot, 3:10 to Yuma, Rise of the Planet of the Apes and Ted.