American Cinematographer - July 2007 - 35

Left: Crewmembers set up an elaborate car rig for one of the film’s highoctane action sequences. Below: Willis dangles in an elevator shaft built on a soundstage. more importantly, the Die Hard films are very much about the environments where the action takes place — everyone remembers the Nakatomi Plaza from the first film,” notes Duggan. “For this movie, we made great use of roads, tunnels and a variety of industrial locations. Len and I believed shooting on actual locations whenever we could was the only way to go.” When asked if a locationheavy shoot might dilute the role of the production designer, Duggan disagrees.“Not at all. This is my third film in a row with Patrick [Tatopoulos], after I, Robot [see AC July ’04] and Underworld: Evolution, and my communication with him and his team on this movie was just as essential, if not more so. They built some amazing sets onstage that were important to the plot but impossible to shoot on location, including FBI headquarters, an elevator shaft that McClane crashes down inside his vehicle, and a massive cooling tower that features a dramatic fight sequence. On a larger scale, Patrick’s team built a 1,000-foot section of concrete freeway for a fighter-plane attack on McClane’s truck. We talked constantly about the angles Len and I wanted to shoot; Len likes to shoot from low angles into ceilings, so we were very seldom able to put rigging overhead. Patrick always considered how I planned to light a set and incorporate it into his designs.” The action in Live Free or Die Hard essentially starts in Washington, D.C., when McClane and Farrell, riding in a police car, are chased by members of Gabriel’s gang, who are in a helicopter. Duggan recalls, “We shot Baltimore for Washington in these opening sequences, and it was important to give them a warmer look that would contrast with the blue-green palette of the later night scenes. While I tried to work in the shadow of the tall buildings as much as possible, the pace of shooting meant we ran the gamut of lighting conditions — morning and afternoon shade, full sunlight, rain, and even night for day. Knowing we’d finish with a DI gave American Cinematographer 35

American Cinematographer - July 2007

Table of Contents for the Digital Edition of American Cinematographer - July 2007

Contents
Editor’s Note
DVD Playback
Production Slate
One-Man Riot Squad
Laws of the Jungle
A Hollywood Whodunit
Pièce de Résistance
Short Takes
Post Focus
Filmmakers’ Forum
New Products & Services
Points East
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up
American Cinematographer - July 2007 - Cover1
American Cinematographer - July 2007 - Cover2
American Cinematographer - July 2007 - 1
American Cinematographer - July 2007 - 2
American Cinematographer - July 2007 - Contents
American Cinematographer - July 2007 - 4
American Cinematographer - July 2007 - 5
American Cinematographer - July 2007 - 6
American Cinematographer - July 2007 - 7
American Cinematographer - July 2007 - Editor’s Note
American Cinematographer - July 2007 - 9
American Cinematographer - July 2007 - 10
American Cinematographer - July 2007 - 11
American Cinematographer - July 2007 - DVD Playback
American Cinematographer - July 2007 - 13
American Cinematographer - July 2007 - 14
American Cinematographer - July 2007 - 15
American Cinematographer - July 2007 - 16
American Cinematographer - July 2007 - 17
American Cinematographer - July 2007 - Production Slate
American Cinematographer - July 2007 - 19
American Cinematographer - July 2007 - 20
American Cinematographer - July 2007 - 21
American Cinematographer - July 2007 - 22
American Cinematographer - July 2007 - 23
American Cinematographer - July 2007 - 24
American Cinematographer - July 2007 - 25
American Cinematographer - July 2007 - 26
American Cinematographer - July 2007 - 27
American Cinematographer - July 2007 - 28
American Cinematographer - July 2007 - 29
American Cinematographer - July 2007 - 30
American Cinematographer - July 2007 - 31
American Cinematographer - July 2007 - One-Man Riot Squad
American Cinematographer - July 2007 - 33
American Cinematographer - July 2007 - 34
American Cinematographer - July 2007 - 35
American Cinematographer - July 2007 - 36
American Cinematographer - July 2007 - 37
American Cinematographer - July 2007 - 38
American Cinematographer - July 2007 - 39
American Cinematographer - July 2007 - 40
American Cinematographer - July 2007 - 41
American Cinematographer - July 2007 - 42
American Cinematographer - July 2007 - 43
American Cinematographer - July 2007 - Laws of the Jungle
American Cinematographer - July 2007 - 45
American Cinematographer - July 2007 - 46
American Cinematographer - July 2007 - 47
American Cinematographer - July 2007 - 48
American Cinematographer - July 2007 - 49
American Cinematographer - July 2007 - 50
American Cinematographer - July 2007 - 51
American Cinematographer - July 2007 - 52
American Cinematographer - July 2007 - 53
American Cinematographer - July 2007 - A Hollywood Whodunit
American Cinematographer - July 2007 - 55
American Cinematographer - July 2007 - 56
American Cinematographer - July 2007 - 57
American Cinematographer - July 2007 - 58
American Cinematographer - July 2007 - 59
American Cinematographer - July 2007 - 60
American Cinematographer - July 2007 - 61
American Cinematographer - July 2007 - Pièce de Résistance
American Cinematographer - July 2007 - 63
American Cinematographer - July 2007 - 64
American Cinematographer - July 2007 - 65
American Cinematographer - July 2007 - 66
American Cinematographer - July 2007 - 67
American Cinematographer - July 2007 - 68
American Cinematographer - July 2007 - 69
American Cinematographer - July 2007 - 70
American Cinematographer - July 2007 - 71
American Cinematographer - July 2007 - Short Takes
American Cinematographer - July 2007 - 73
American Cinematographer - July 2007 - 74
American Cinematographer - July 2007 - 75
American Cinematographer - July 2007 - 76
American Cinematographer - July 2007 - 77
American Cinematographer - July 2007 - Post Focus
American Cinematographer - July 2007 - 79
American Cinematographer - July 2007 - 80
American Cinematographer - July 2007 - 81
American Cinematographer - July 2007 - 82
American Cinematographer - July 2007 - 83
American Cinematographer - July 2007 - Filmmakers’ Forum
American Cinematographer - July 2007 - 85
American Cinematographer - July 2007 - New Products & Services
American Cinematographer - July 2007 - 87
American Cinematographer - July 2007 - 88
American Cinematographer - July 2007 - 89
American Cinematographer - July 2007 - 90
American Cinematographer - July 2007 - 91
American Cinematographer - July 2007 - Points East
American Cinematographer - July 2007 - 93
American Cinematographer - July 2007 - International Marketplace
American Cinematographer - July 2007 - Classified Ads
American Cinematographer - July 2007 - Ad Index
American Cinematographer - July 2007 - 97
American Cinematographer - July 2007 - Clubhouse News
American Cinematographer - July 2007 - 99
American Cinematographer - July 2007 - ASC Close-Up
American Cinematographer - July 2007 - Cover3
American Cinematographer - July 2007 - Cover4
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