American Cinematographer - January 2008 - 86
A Bulletproof Cinematographer Right: Cameras capture two angles as one of Al Capone’s henchmen falls to his death in The Untouchables (1987), which earned Burum his first ASC Award nomination. Below: Eliot Ness (Kevin Costner) gets a jump on Capone’s men in Chicago’s Union Station, kicking off a sequence that pays homage to a famous scene in Sergei Eisenstein’s Battleship Potemkin. 86 January 2008 Photos by Zade Rosenthal, SMPSP, courtesy of The Academy of Motion Picture Arts & Sciences. Saucer and productions for ABC Midnight Specials. In the midst of that, a former UCLA classmate, Francis Ford Coppola, invited him to the Philippines to direct and shoot second unit on Apocalypse Now (1979). “Francis said, ‘Come for 30 days,’ and I was there nine months,” says Burum. “The main reason he called was they’d started shooting the helicopter attack on the village, and then a typhoon hit, and they had to move the company before they could get all the material. One of the missing pieces was a shot of the big [helicopter] formation; I’d shot films about helicopter assault in the army and knew how to get that. “First I spent a couple of days watching Vittorio [Storaro, ASC, AIC] film two scenes, and then Francis gave me a list of things he wanted me to do. I would prep a section, then shoot it, prep, then shoot, and I always worked on weekends so I could have some of the resources the main unit had, like boats and planes. Every two or three weeks, work would stop and we’d all watch first- and second-unit dailies.” The mandate from Coppola and Storaro was to capture shots that illustrated “civilization imposing itself on nature,” recalls Burum. “Every shot had to feature something that represented nature and something that represented man’s violation of it — for example, in a shot of a Vietnamese woman cooking over a fire, there’s an M-16 next to her.” Similarly, for the transitional shots of Willard’s PBR going upriver, Burum was careful to show still water before the boat disturbs the surface and enters the frame. “Steve’s work was very, very important to the feeling of Apocalypse Now,” says Storaro. “When we met with him, I told him he would have a much better chance to do specific images that would carry out our philosophical concept than I would. Our first unit was very large, and with a large unit you can’t just wait for the right light so you can film a specific shot at a specific time — you have to shoot when the army is ready. But with a smaller unit, you
American Cinematographer - January 2008
Table of Contents for the Digital Edition of American Cinematographer - January 2008
American Cinematographer - January 2008
Contents
Editor's Note
Short Takes: Madame Tutli-Putli
Production Slate: The Diving Bell and the Butterfly, The Great Debaters
Blood for Oil
Very Close Shaves
A Rogue Politician
A Bulletproof Cinematographer
Post Focus: Restoring Days of Heaven, Achieving Color Symmetry, HPA Awards
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Roderick Ryan, ASC
Clubhouse News
ASC Close-Up: Glen MacPherson
American Cinematographer - January 2008 - Intro
American Cinematographer - January 2008 - American Cinematographer - January 2008
American Cinematographer - January 2008 - Cover2
American Cinematographer - January 2008 - 1
American Cinematographer - January 2008 - 2
American Cinematographer - January 2008 - Contents
American Cinematographer - January 2008 - 4
American Cinematographer - January 2008 - 5
American Cinematographer - January 2008 - 6
American Cinematographer - January 2008 - 7
American Cinematographer - January 2008 - Editor's Note
American Cinematographer - January 2008 - 9
American Cinematographer - January 2008 - Short Takes: Madame Tutli-Putli
American Cinematographer - January 2008 - 11
American Cinematographer - January 2008 - 12
American Cinematographer - January 2008 - 13
American Cinematographer - January 2008 - 14
American Cinematographer - January 2008 - 15
American Cinematographer - January 2008 - 16
American Cinematographer - January 2008 - 17
American Cinematographer - January 2008 - Production Slate: The Diving Bell and the Butterfly, The Great Debaters
American Cinematographer - January 2008 - 19
American Cinematographer - January 2008 - 20
American Cinematographer - January 2008 - 21
American Cinematographer - January 2008 - 22
American Cinematographer - January 2008 - 23
American Cinematographer - January 2008 - 24
American Cinematographer - January 2008 - 25
American Cinematographer - January 2008 - 26
American Cinematographer - January 2008 - 27
American Cinematographer - January 2008 - 28
American Cinematographer - January 2008 - 29
American Cinematographer - January 2008 - 30
American Cinematographer - January 2008 - 31
American Cinematographer - January 2008 - 32
American Cinematographer - January 2008 - 33
American Cinematographer - January 2008 - 34
American Cinematographer - January 2008 - 35
American Cinematographer - January 2008 - Blood for Oil
American Cinematographer - January 2008 - 37
American Cinematographer - January 2008 - 38
American Cinematographer - January 2008 - 39
American Cinematographer - January 2008 - 40
American Cinematographer - January 2008 - 41
American Cinematographer - January 2008 - 42
American Cinematographer - January 2008 - 43
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American Cinematographer - January 2008 - 45
American Cinematographer - January 2008 - 46
American Cinematographer - January 2008 - 47
American Cinematographer - January 2008 - 48
American Cinematographer - January 2008 - BRC1
American Cinematographer - January 2008 - BRC2
American Cinematographer - January 2008 - 49
American Cinematographer - January 2008 - 50
American Cinematographer - January 2008 - 51
American Cinematographer - January 2008 - 52
American Cinematographer - January 2008 - 53
American Cinematographer - January 2008 - 54
American Cinematographer - January 2008 - 55
American Cinematographer - January 2008 - Very Close Shaves
American Cinematographer - January 2008 - 57
American Cinematographer - January 2008 - 58
American Cinematographer - January 2008 - 59
American Cinematographer - January 2008 - 60
American Cinematographer - January 2008 - 61
American Cinematographer - January 2008 - 62
American Cinematographer - January 2008 - 63
American Cinematographer - January 2008 - 64
American Cinematographer - January 2008 - 65
American Cinematographer - January 2008 - 66
American Cinematographer - January 2008 - 67
American Cinematographer - January 2008 - 68
American Cinematographer - January 2008 - 69
American Cinematographer - January 2008 - A Rogue Politician
American Cinematographer - January 2008 - 71
American Cinematographer - January 2008 - 72
American Cinematographer - January 2008 - 73
American Cinematographer - January 2008 - 74
American Cinematographer - January 2008 - 75
American Cinematographer - January 2008 - 76
American Cinematographer - January 2008 - 77
American Cinematographer - January 2008 - 78
American Cinematographer - January 2008 - 79
American Cinematographer - January 2008 - 80
American Cinematographer - January 2008 - 81
American Cinematographer - January 2008 - A Bulletproof Cinematographer
American Cinematographer - January 2008 - 83
American Cinematographer - January 2008 - 84
American Cinematographer - January 2008 - 85
American Cinematographer - January 2008 - 86
American Cinematographer - January 2008 - 87
American Cinematographer - January 2008 - 88
American Cinematographer - January 2008 - 89
American Cinematographer - January 2008 - 90
American Cinematographer - January 2008 - 91
American Cinematographer - January 2008 - 92
American Cinematographer - January 2008 - 93
American Cinematographer - January 2008 - 94
American Cinematographer - January 2008 - 95
American Cinematographer - January 2008 - 96
American Cinematographer - January 2008 - 97
American Cinematographer - January 2008 - Post Focus: Restoring Days of Heaven, Achieving Color Symmetry, HPA Awards
American Cinematographer - January 2008 - 99
American Cinematographer - January 2008 - 100
American Cinematographer - January 2008 - 101
American Cinematographer - January 2008 - 102
American Cinematographer - January 2008 - 103
American Cinematographer - January 2008 - 104
American Cinematographer - January 2008 - 105
American Cinematographer - January 2008 - New Products & Services
American Cinematographer - January 2008 - 107
American Cinematographer - January 2008 - 108
American Cinematographer - January 2008 - 109
American Cinematographer - January 2008 - 110
American Cinematographer - January 2008 - 111
American Cinematographer - January 2008 - 112
American Cinematographer - January 2008 - 113
American Cinematographer - January 2008 - 114
American Cinematographer - January 2008 - 115
American Cinematographer - January 2008 - 116
American Cinematographer - January 2008 - 117
American Cinematographer - January 2008 - International Marketplace
American Cinematographer - January 2008 - Classified Ads
American Cinematographer - January 2008 - Ad Index
American Cinematographer - January 2008 - In Memoriam: Roderick Ryan, ASC
American Cinematographer - January 2008 - Clubhouse News
American Cinematographer - January 2008 - 123
American Cinematographer - January 2008 - ASC Close-Up: Glen MacPherson
American Cinematographer - January 2008 - Cover3
American Cinematographer - January 2008 - Cover4
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