American Cinematographer - January 2008 - 8

NOW IN A NEW LOCATION! Editor’s Note he collaboration between cinematographer Robert Elswit, ASC and director Paul Thomas Anderson has produced a string of bold films, and their latest, There Will Be Blood, explores the downward spiral of a turn-of-the-century oil prospector (Daniel DayLewis) whose ambition collides with his misanthropic nature. In separate interviews, both Elswit and Anderson cheerfully concede that their creative dynamic can sometimes be contentious, but if film history has taught us anything, it’s that on-set wrangling (a.k.a. “constructive discussion”) often produces great results onscreen. This is certainly the case with There Will Be Blood (“Blood for Oil,” page 36). Audacious and emotionally jarring, the film reaps the benefits of the push-and-pull relationship between the technically exacting Elswit and the experimental Anderson. “Cinematographers want to control things as much as we can, but what I’ve learned from Paul is how much better it can be to let accidents happen rather than try to force everything to be a certain way,” Elswit said during our discussion at the Chateau Marmont in West Hollywood. “He wants to see things unfold on the set, and if something isn’t working, he’s willing to stop in his tracks and start all over again. So there’s a constant recharging and renewal of creative energy.” Further perspectives on the project were gleaned from gaffer Robby Baumgartner, 1st AC Barry “Baz” Idoine, special-effects supervisor Steve Cremin and lens designer Dan Sasaki, who all found the production memorable. Coincidentally, the title of Anderson’s film is also an apt description of Sweeney Todd, which gleefully serves up geysers of red corpuscles. Sweeney was filmed entirely at Pinewood Studios in London, where the production occupied eight stages. As a fan of the stage musical, I was impressed by director Tim Burton’s faithful adaptation, which showcases the fine work of Dariusz Wolski, ASC and production designer Dante Ferretti. AC’s new assistant editor, Jon D. Witmer, got all the gory details (“Very Close Shaves,” page 56). Meanwhile, back in the real world, Stephen Goldblatt, ASC, BSC reteamed with director Mike Nichols on the satirical comedy Charlie Wilson’s War, which stars Tom Hanks in the fact-based tale of a U.S. Congressman who used the CIA to secretly funnel hundreds of millions of dollars to Afghan rebels battling the Soviet Union during the 1980s. AC contributor Jean Oppenheimer debriefed Goldblatt on his strategies (“A Rogue Politician,” page 70). This issue also salutes the career of Stephen H. Burum, ASC, a cinematographer who has been a trusted collaborator, friend and mentor to many, including AC’s staff. On Jan. 26, he will receive the ASC Lifetime Achievement Award for his stellar contributions to cinema, but he will also be applauded for his devotion to the ASC itself. As a director of photography, Burum has contributed to many memorable pictures; as the former head of the ASC’s Publications Committee, he edited the most recent edition of the American Cinematographer Manual. We are delighted to give him his moment in the spotlight, which begins with senior editor Rachael K. Bosley’s outstanding profile (“A Bulletproof Cinematographer,” page 82). On a final note, I offer sincere best wishes to our former associate editor, Douglas Bankston, who recently became the managing editor of Digital Video magazine and DV.com. For eight years, Doug was a major asset to AC, and he will continue to do occasional articles for us as a contributing writer. We’ll miss his diligence, technical savvy and wry sense of humor around the office. T Call us or visit our web site to see our specialty H2O products and to find out where you can get HydroFlex equipment and accessories worldwide. WATERTIGHT SOLUTIONS 301 E. El Segundo Blvd. El Segundo, CA 90245 Tel: 31 0/301-8187 Fax: 310/821-9886 www.hydroflex.com Stephen Pizzello Executive Editor 8 Photo by Douglas Kirkland.

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American Cinematographer - January 2008

Table of Contents for the Digital Edition of American Cinematographer - January 2008