American Cinematographer - May 2023 - 39
AMERICAN CINEMATOGRAPHER THEASC.COM
" [Mike Nichols] didn't talk about the work,
but then, he never did; he'd always talk about
experiences in his life, which I realized were
actually illuminating the inner life of the story. "
greenscreen or bluescreen. When the Batmobile had to screech through
the streets of New York, we lit up Wall Street, and we lit up to 40 stories
high from the ground! It was the biggest setup I ever had to do and ever
will do - because today, most of that would be done with visual effects.
We had the wonderful [visual-effects supervisor] John Dykstra [ASC]
take our work over and then increase it, as it were, but the technology
compared to what we have now was primitive. "
On the A-List
Goldblatt also distinguished himself in the early days of HBO's " prestige
productions, " starting with the 2001 World War II drama Conspiracy,
which depicted the infamous Wannsee Conference. Goldblatt convinced
director Frank Pierson to shoot handheld " with the great operator Trevor
Coop using Super 16mm cameras, " which allowed the filmmakers to
complete 10 script pages per day and achieve a documentary-style immediacy.
The success of this project led to another HBO production, Path
to War (AC May '02), directed by John Frankenheimer.
It was on Goldblatt's next outing for HBO that he forged what he
Collaborating with director Richard Donner
on the 1987 action thriller Lethal Weapon.
considers to be his most rewarding collaboration with a director -
even though they got off to a somewhat rocky start. The project was
Mike Nichols' miniseries adaptation of Angels in America, based on Tony
Kushner's acclaimed play.
" I went to meet Mike at the Hotel Bel-Air, " Goldblatt recalls. " We had
a wonderful meeting. He didn't talk about the work, but then, he never
MAY 2023 / 39
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American Cinematographer - May 2023
Table of Contents for the Digital Edition of American Cinematographer - May 2023
Contents
American Cinematographer - May 2023 - Cover1
American Cinematographer - May 2023 - Cover2
American Cinematographer - May 2023 - 1
American Cinematographer - May 2023 - Contents
American Cinematographer - May 2023 - 3
American Cinematographer - May 2023 - 4
American Cinematographer - May 2023 - 5
American Cinematographer - May 2023 - 6
American Cinematographer - May 2023 - 7
American Cinematographer - May 2023 - 8
American Cinematographer - May 2023 - 9
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American Cinematographer - May 2023 - 11
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American Cinematographer - May 2023 - 13
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American Cinematographer - May 2023 - 19
American Cinematographer - May 2023 - 20
American Cinematographer - May 2023 - 21
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American Cinematographer - May 2023 - 25
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American Cinematographer - May 2023 - 27
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American Cinematographer - May 2023 - 30
American Cinematographer - May 2023 - 31
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American Cinematographer - May 2023 - 33
American Cinematographer - May 2023 - 34
American Cinematographer - May 2023 - 35
American Cinematographer - May 2023 - 36
American Cinematographer - May 2023 - 37
American Cinematographer - May 2023 - 38
American Cinematographer - May 2023 - 39
American Cinematographer - May 2023 - 40
American Cinematographer - May 2023 - 41
American Cinematographer - May 2023 - 42
American Cinematographer - May 2023 - 43
American Cinematographer - May 2023 - 44
American Cinematographer - May 2023 - 45
American Cinematographer - May 2023 - 46
American Cinematographer - May 2023 - 47
American Cinematographer - May 2023 - 48
American Cinematographer - May 2023 - 49
American Cinematographer - May 2023 - 50
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American Cinematographer - May 2023 - 62
American Cinematographer - May 2023 - 63
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American Cinematographer - May 2023 - 65
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American Cinematographer - May 2023 - 67
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American Cinematographer - May 2023 - 69
American Cinematographer - May 2023 - 70
American Cinematographer - May 2023 - 71
American Cinematographer - May 2023 - 72
American Cinematographer - May 2023 - Cover3
American Cinematographer - May 2023 - Cover4
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