American Cinematographer - April 2008 - 24

Mandy (Amber Heard) becomes the obsession of a deranged killer who begins murdering her friends one by one in All the Boys Love Mandy Lane. Pastoral Horror by Jim Hemphill “Lyrical” is a word that might not typically be used to describe a horror movie, but All the Boys Love Mandy Lane owes as much to Days of Heaven as it does The Texas Chain Saw Massacre. Set mostly at a remote farmhouse, the story follows a group of teenagers who are stalked by a killer whose motives are slowly revealed over the course of the movie. At the center of the action is the title character (played by Amber Heard), a beauty who arouses the desire of her male classmates and 24 April 2008 All the Boys Love Mandy Lane frame grabs courtesy of Dimension Films; photo on page 29 by Chad Feehan. the jealousy of her female peers. The film’s cinematographer, Darren Genet, who attended the American Film Institute with Mandy Lane director Jonathan Levine, recalls that the production had varied influences. “When we first started talking about the movie, we looked at horror films from the ’70s and ’80s and wanted to pay homage to some of those classics, such as I Spit on Your Grave, Carrie and Friday the 13th Part 2,” he says. “We studied specific devices that made for scary shots and tried to update them and make them our own.” The filmmakers also moved outside the horror genre to find inspiration, screening Donnie Darko, Friday Night Lights and The Virgin Suicides, all of which influenced character and tone. Finally, Days of Heaven and The Last Picture Show became reference points as the team began thinking about the role of place in the film — the place being Texas (Austin and Bastrop), where the beautiful yet unforgiving topography reflects the tensions at the heart of the piece. Genet framed the film in 2.40:1 and used the Super 35mm and anamorphic formats. The main camera was a Panaflex Millennium, which “allowed

American Cinematographer - April 2008

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

American Cinematographer - April 2008
Contents
Editor's Note
Global Village: The Counterfeiters
Short Takes: Milia
Production Slate: Paranoid Park
Production Slate: All the Boys Love Mandy Lane
Card Sharks
Temple of Doom
3-D Cinematography
Sundance 2008: Mining for Movies
Post Focus: Digital Film Tree Gets into Peyote
Post Focus: FotoKem’s 3-D Workflow
Post Focus: Technicolor Digs in at Pinewood
Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - American Cinematographer - April 2008
American Cinematographer - April 2008 - Cover2
American Cinematographer - April 2008 - 1
American Cinematographer - April 2008 - 2
American Cinematographer - April 2008 - Contents
American Cinematographer - April 2008 - 4
American Cinematographer - April 2008 - 5
American Cinematographer - April 2008 - 6
American Cinematographer - April 2008 - 7
American Cinematographer - April 2008 - Editor's Note
American Cinematographer - April 2008 - 9
American Cinematographer - April 2008 - Global Village: The Counterfeiters
American Cinematographer - April 2008 - 11
American Cinematographer - April 2008 - 12
American Cinematographer - April 2008 - 13
American Cinematographer - April 2008 - Short Takes: Milia
American Cinematographer - April 2008 - 15
American Cinematographer - April 2008 - 16
American Cinematographer - April 2008 - 17
American Cinematographer - April 2008 - Production Slate: All the Boys Love Mandy Lane
American Cinematographer - April 2008 - 19
American Cinematographer - April 2008 - 20
American Cinematographer - April 2008 - 21
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American Cinematographer - April 2008 - 26
American Cinematographer - April 2008 - 27
American Cinematographer - April 2008 - 28
American Cinematographer - April 2008 - 29
American Cinematographer - April 2008 - Card Sharks
American Cinematographer - April 2008 - 31
American Cinematographer - April 2008 - 32
American Cinematographer - April 2008 - 33
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American Cinematographer - April 2008 - 39
American Cinematographer - April 2008 - 40
American Cinematographer - April 2008 - 41
American Cinematographer - April 2008 - Temple of Doom
American Cinematographer - April 2008 - 43
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American Cinematographer - April 2008 - 50
American Cinematographer - April 2008 - 51
American Cinematographer - April 2008 - 3-D Cinematography
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American Cinematographer - April 2008 - 55
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American Cinematographer - April 2008 - 63
American Cinematographer - April 2008 - Sundance 2008: Mining for Movies
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American Cinematographer - April 2008 - 80
American Cinematographer - April 2008 - 81
American Cinematographer - April 2008 - 82
American Cinematographer - April 2008 - 83
American Cinematographer - April 2008 - Post Focus: Technicolor Digs in at Pinewood
American Cinematographer - April 2008 - 85
American Cinematographer - April 2008 - 86
American Cinematographer - April 2008 - 87
American Cinematographer - April 2008 - 88
American Cinematographer - April 2008 - 89
American Cinematographer - April 2008 - Filmmakers’ Forum: Steven Fierberg, ASC on Searchers 2.0
American Cinematographer - April 2008 - 91
American Cinematographer - April 2008 - 92
American Cinematographer - April 2008 - 93
American Cinematographer - April 2008 - New Products & Services
American Cinematographer - April 2008 - 95
American Cinematographer - April 2008 - 96
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American Cinematographer - April 2008 - 108
American Cinematographer - April 2008 - 109
American Cinematographer - April 2008 - International Marketplace
American Cinematographer - April 2008 - 111
American Cinematographer - April 2008 - Ad Index
American Cinematographer - April 2008 - 113
American Cinematographer - April 2008 - Clubhouse News
American Cinematographer - April 2008 - 115
American Cinematographer - April 2008 - ASC Close-Up: Rodney Taylor
American Cinematographer - April 2008 - Cover3
American Cinematographer - April 2008 - Cover4
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