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2014 / 10 — October Issue of American Cinematographer
2014 / 10 — October Issue of American Cinematographer


 
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The October 2014 issue of American Cinematographer magazine features a special focus on lighting tools and techniques, as well as a tribute to the late Gordon Willis, ASC.


The Maze Runner (20th Century Fox)
Enrique Chediak, ASC joined director Wes Ball for this big-screen adaptation of the popular young-adult novel written by James Dashner. Set in a post-apocalyptic environment known simply as the Glade, the story follows the teenaged Thomas (Dylan O'Brien), who runs headlong into adventure when he and his compatriots enter the staggering maze that surrounds their community. Combining exterior and stage-interior photography, the film was shot over 42 days in Louisiana. Chediak discusses the production's breakneck pace and the specific lighting challenges he faced both indoors and out.


Tracks (The Weinstein Co.)
Mandy Walker, ASC, ACS and director John Curran opted to shoot on 35mm motion-picture negative with Panavision anamorphic lenses to tell the widescreen tale of Robyn Davidson (Mia Wasikowska), who embarks on a 1,700-mile journey across the deserts of Australia. Based on Davidson's real-life memoir, the predominantly exterior film was shot on location in the bush and the outback. Walker details how she wrangled, manipulated and augmented the environment's natural light.


Remembering Gordon Willis, ASC
Gordon Willis, ASC — a legendary cinematographer who had a seismic influence on his chosen art form — died this past May at age 82. He was best known for the dark chiaroscuro he brought to Francis Ford Coppola's Godfather trilogy and for his work on a number of classic Woody Allen comedies, including Annie Hall and Manhattan. His credits also included The Parallax View, All the President's Men, The Paper Chase and Pennies from Heaven, among other notable titles. Our multi-part salute to the life, career and legacy of "Gordy" includes memories from his collaborators, quotes from past interviews with Willis, and excerpts from a forthcoming book about the cinematographer written by AC editor-in-chief and publisher Stephen Pizzello.


The October issue's departments also offers illuminating insights:


Short Takes spotlights this year's ASC Linwood Dunn Heritage Award winners: Harper Alexander, who shot the short film Starlight; Matthew Blake, who photographed the short documentary Forest Keepers; and Guy Pooles, cinematographer of the short Dirty Laundry.


Production Slate investigates Nicolas Karakatansis' work behind the camera on the crime-drama The Drop, as well as director/cinematographer Robert Greene's work on the "cinematic nonfiction" documentary Actress.


ASC Close-Up spotlights Society member Jonathan Freeman, a multiple ASC and Emmy Award-winning cinematographer whose credits include episodes of the series Homeland Security, Boardwalk Empire and Game of Thrones, as well as the features Hollywoodland and Remember Me.