American Cinematographer - July 2008 - 8

Editor’s Note hen a summer blockbuster inspires sequels, the folks behind the camera must create bigger thrills as the franchise advances. After successfully re-imagining Gotham City in Batman Begins, director Christopher Nolan and cinematographer Wally Pfister, ASC topped themselves by filming portions of The Dark Knight in Imax 65mm. “It’s ironic,” Pfister notes, “because many filmmakers are trying out digital cameras that actually capture less resolution and information, and we’re going in the opposite direction, upping the ante by capturing images with unparalleled resolution and clarity.” The filmmakers ultimately shot several key action sequences in 15-perf 65mm, marking the first time a major motion picture has mixed the 35mm and Imax formats. “I think the fact that it was unprecedented was a big selling point for the studio,” Nolan muses. “They probably didn’t truly get what we wanted to do until they saw the first test reel, which blew them away.” Judging by the details in David Heuring’s comprehensive article (“Batman Looms Larger,” page 30), audiences will also be impressed. While The Dark Knight brings a somber, operatic tone to its superhero saga, Hancock offers a lighthearted but still action-packed take on the genre. Will Smith stars as the titular hero, a homeless man endowed with super-powers but freighted with human flaws. Despite the movie’s whimsical slant, cinematographer Tobias Schliessler faced complex logistics, including lighting challenges that resulted from director Peter Berg’s mandate of handheld camerawork. “I wouldn’t say [the movie] was shot like a documentary, because Peter rehearsed the actors, but it was shot very freely,” Schliessler tells writer Jay Holben (“A Not-So-Super Hero,” page 46). Slapstick is also in high supply on Get Smart, an update of the gleefully silly TV series that initially aired from 1965-70. Steve Carell and Anne Hathaway portray this generation’s Maxwell Smart and Agent 99; their antic attempts at espionage were captured by Dean Semler, ASC, ACS, who once again stood behind Panavision’s Genesis. “My crew is now very familiar with the Genesis, and they’ve learned to discover the camera,” he tells Noah Kadner (“Spy vs. Spy,” page 54). “It is different in that it’s a computer instead of a film camera. But it’s 2008, and the digital era is no longer the future — we’re in it.” If your ribs can stand further tickling, tune in to the next season of 30 Rock, the popular NBC series that skewers network comedy. Based on creator and star Tina Fey’s ˇ experiences as head writer on Saturday Night Live, the show is shot by Vanja Cernjul, who landed the gig after shooting a string of indie features and the pilot for Ugly Betty. He enjoys the visual variety the series affords: “We don’t have one formula for the whole show, because the look is really based on the storylines,” he tells Jon Silberg (“Laugh Factory,” page 64). “Even within an episode, we can be very realistic for one storyline and extremely stylized for another.” This issue also marks two milestones, one sad and one happy: the passing of honorary ASC member Burton “Bud” Stone (In Memoriam, page 82), and a groundbreaking that will pave the way for the ASC’s future (Clubhouse News, page 84). Bud helped lay a solid foundation for cinematographers and the Society, and his generous spirit will surely grace the halls of the refurbished Clubhouse. W 8 Stephen Pizzello Executive Editor Photo by Douglas Kirkland.

American Cinematographer - July 2008

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