American Cinematographer - May 2022 - 35

Geoffrey Rush stars as Peter Sellers - shown here as " Dr.
Strangelove " - in the 2004 television movie The Life and
Death of Peter Sellers, shot by Levy.
of 24 is that you can only cut to change location
- you can't cut to change time. So, you couldn't
use the edit to compress time. It had to be real
time, and the cut had to be a match cut, " says
Levy, whose camerawork on the pilot earned
him his first ASC Award nomination. " Stephen
was lamenting the fact that he didn't have
enough time to get all the coverage he wanted
for all the cuts he knew were necessary. I said,
'Let's shoot this documentary-style and then
consider whether we need to do any additional
shots to make that scene work, or whether we
can choreograph it with two cameras.' "
But they didn't deploy the two cameras to
secure coverage, per the common practice.
" We might start a scene with one camera in
one room, and when the actor walks out of
that room, the second camera was outside the
room, and we'd pick the actor up from there,
and shoot the second half of the scene, " Levy
says. " Rather than shooting with two cameras
to get different angles on one shot, we would
use them to extend the set and the shot. "
Krishna Rao, who served as Levy's camera
operator for many years until he became
a cinematographer and director in his own
right, operated the camera on the 24 pilot and
remembers the intensity of that shoot. " I was
challenged with a tricky shot - director Stephen
Hopkins doesn't do easy shots. I asked
Peter for another rehearsal, and he denied my
request, saying he didn't want the audience to
get the impression that I had a chance to rehearse
the shot. He said he wanted viewers
to feel that we barely had time to set up the
cameras before the action happened, " Rao
says. " There is an immediacy to the action if
the camera feels unrehearsed and reactive to
the action in frame. Sometimes it's okay, even
beneficial, if an actor's head breaks frame on
a standup or if you miss the first word of dialogue
when panning over to see who's talking.
This reactive style is something I carried over to
when I started shooting the [CBS action drama]
The Unit. You make it real by making it less than
perfect. Not sloppy - real. "
Television Techniques
To craft the television biopic The Life and Death
of Peter Sellers - which earned Levy another
ASC Award nomination - the cinematographer
and Hopkins allowed Sellers' pained mindset to
guide the production's lighting. " Sellers hated
his life, " Levy told AC in 2004. " He only thought
MAY 2022 / 35
IMAGE COURTESY OF PHOTO 12 / ALAMY STOCK PHOTO.

http://WWW.CHIMERALIGHTING.COM

American Cinematographer - May 2022

Table of Contents for the Digital Edition of American Cinematographer - May 2022

Contents
American Cinematographer - May 2022 - Cover1
American Cinematographer - May 2022 - Cover2
American Cinematographer - May 2022 - 1
American Cinematographer - May 2022 - Contents
American Cinematographer - May 2022 - 3
American Cinematographer - May 2022 - 4
American Cinematographer - May 2022 - 5
American Cinematographer - May 2022 - 6
American Cinematographer - May 2022 - 7
American Cinematographer - May 2022 - 8
American Cinematographer - May 2022 - 9
American Cinematographer - May 2022 - 10
American Cinematographer - May 2022 - 11
American Cinematographer - May 2022 - 12
American Cinematographer - May 2022 - 13
American Cinematographer - May 2022 - 14
American Cinematographer - May 2022 - 15
American Cinematographer - May 2022 - 16
American Cinematographer - May 2022 - 17
American Cinematographer - May 2022 - 18
American Cinematographer - May 2022 - 19
American Cinematographer - May 2022 - 20
American Cinematographer - May 2022 - 21
American Cinematographer - May 2022 - 22
American Cinematographer - May 2022 - 23
American Cinematographer - May 2022 - 24
American Cinematographer - May 2022 - 25
American Cinematographer - May 2022 - 26
American Cinematographer - May 2022 - 27
American Cinematographer - May 2022 - 28
American Cinematographer - May 2022 - 29
American Cinematographer - May 2022 - 30
American Cinematographer - May 2022 - 31
American Cinematographer - May 2022 - 32
American Cinematographer - May 2022 - 33
American Cinematographer - May 2022 - 34
American Cinematographer - May 2022 - 35
American Cinematographer - May 2022 - 36
American Cinematographer - May 2022 - 37
American Cinematographer - May 2022 - 38
American Cinematographer - May 2022 - 39
American Cinematographer - May 2022 - 40
American Cinematographer - May 2022 - 41
American Cinematographer - May 2022 - 42
American Cinematographer - May 2022 - 43
American Cinematographer - May 2022 - 44
American Cinematographer - May 2022 - 45
American Cinematographer - May 2022 - 46
American Cinematographer - May 2022 - 47
American Cinematographer - May 2022 - 48
American Cinematographer - May 2022 - 49
American Cinematographer - May 2022 - 50
American Cinematographer - May 2022 - 51
American Cinematographer - May 2022 - 52
American Cinematographer - May 2022 - 53
American Cinematographer - May 2022 - 54
American Cinematographer - May 2022 - 55
American Cinematographer - May 2022 - 56
American Cinematographer - May 2022 - 57
American Cinematographer - May 2022 - 58
American Cinematographer - May 2022 - 59
American Cinematographer - May 2022 - 60
American Cinematographer - May 2022 - 61
American Cinematographer - May 2022 - 62
American Cinematographer - May 2022 - 63
American Cinematographer - May 2022 - 64
American Cinematographer - May 2022 - 65
American Cinematographer - May 2022 - 66
American Cinematographer - May 2022 - 67
American Cinematographer - May 2022 - 68
American Cinematographer - May 2022 - 69
American Cinematographer - May 2022 - 70
American Cinematographer - May 2022 - 71
American Cinematographer - May 2022 - 72
American Cinematographer - May 2022 - Cover3
American Cinematographer - May 2022 - Cover4
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