Here's the November 2014 issue of American Cinematographer magazine, which feature a special focus on creative collaborators.
Gone Girl (20th Century Fox)
Jeff Cronenweth, ASC continued his collaboration with director David Fincher for this highly anticipated big-screen adaptation of the acclaimed, best-selling suspense novel by Gillian Flynn, who also wrote the film's screenplay. When Amy Dunne (Rosamund Pike) goes missing, her husband, Nick (Ben Affleck), leads the search for her, only to find public opinion turn against him as he becomes the primary suspect. AC's investigation reveal the contributions of Cronenweth and his principal accomplices behind the camera.
The Homesman (Roadside Attractions)
Rodrigo Prieto, ASC, AMC saddled up alongside director/actor Tommy Lee Jones for this period Western. When three women in a small settlement in the Nebraska territory go insane, Mary Bee Cuddy (Hilary Swank) volunteers to transport them to Iowa for care, and she enlists claim jumper George Briggs (Jones) to accompany her on the arduous journey across an unforgiving landscape during a brutal winter. Prieto details the location shoot and collaborating with a director who, for most of the movie, was in front of the camera.
Kill the Messenger (Focus Features)
Sean Bobbitt, BSC joined director Michael Cuesta to investigate the real-life story of journalist Gary Webb (Jeremy Renner), who, while working for the San Jose Mercury News, broke the story of the CIA secretly arming the Nicaraguan Contras with munitions paid for by the known import and sale of drugs in Los Angeles and other major U.S. cities. The film tracks Webb's reporting for the story, as well as the aftermath of its publication, when the journalist was attacked from all sides in an effort to discredit his findings. Bobbitt discusses his collaboration with Cuesta and the crew, and talk about shooting the film in 2-perf Super 35mm.
Olive Kitteridge (HBO)
Frederick Elmes, ASC and director Lisa Cholodenko teamed for this five-part miniseries that spans decades as it puts the lives of its eponymous lead character (played by Frances McDormand), her family and their closest relations under the microscope. Elmes speaks about collaborating with Cholodenko for the project, and how they represented the changing seasons and years while shooting in Massachusetts for a story set in a small town on the coast of Maine.
The November issue's departments also offer illuminating insights:
- Short Takes spotlights cinematographer Donald M. Morgan, ASC's work on the Chinese-language period short The Red House.
- Production Slate shines a light on Robert Elswit, ASC's work behind the camera on the dark, Los Angeles-set drama Nightcrawler, as well as cinematographer Sharone Meir's work on the Sundance Film Festival favorite Whiplash.
- ASC Close-Up spotlights Society member Ken Kelsch, whose credits include the features Bad Lieutenant, The Addiction, Big Night, The Funeral and 4:44 Last Day on Earth, as well as the series Medium