American Cinematographer - July 2022 - 61

AMERICAN CINEMATOGRAPHER ASCMAG.COM
Tech Specs:
2.39:1
Cameras | Sony Venice
Lenses | Hawk V-Lite
Ruddy meets with Charles Bluhdorn (Burn Gorman), the
head of Paramount's parent company, Gulf and Western.
the sets through the lighting board, so we could do multiple episodes
and change up the look as new directors came in. " The rotation of directors
included Adam Arkin (Episodes 3, 4, 9 and 10), Colin Bucksey (5 and
6) and Gwyneth Horder-Payton (7 and 8). Totino left after Episode 6 to
collaborate with Fletcher on the feature Ghosted. Cinematographer Elie
Smolkin, CSC shot the remaining four episodes.
Totino says the other directors he worked with, Arkin and Bucksey,
wanted to honor what he and Fletcher had set up. " They didn't want to
change the look, " he says. " They wanted to help tell a story and come
up with ideas that elevated scenes. I explained my rules and how I was
approaching the project, and they said, 'Let's work within that. Here are
some of my ideas, now how can we make it all work?' "
Coming Full Circle
For example, in Episode 3 ( " Fade In " ), Gambino convenes a meeting
with Colombo and other family heads to discuss the troubling news that
" Crazy " Joe Gallo (Joseph Russo) - an unhinged mobster with a beef
against Colombo - has been released from prison. Arkin asked Totino if
they could shoot the scene in a circular movement that would follow the
dialogue among the seated characters. " To do that, you have to be able to
get to each actor as they start their lines, which is tricky, especially when
you don't have the same amount of time to rehearse that you would on a
film, " Totino says. " We had two hours to do the scene, and we did a couple
of rehearsals so operator Kris Krosskove and I could figure out the
timing. We made a dance floor and wound up doing the scene that way,
and it came out fantastic. "
As he prepared to leave the series, Totino recommended Smolkin to
handle the remaining episodes. " I advised him a few times on how I was
doing things, and he got it, " Totino says. " It's not like when I've come
onto a feature to do some additional photography because the original
cinematographer wasn't available. At that point, you're doing shots
within a scene, and you have to do everything exactly how the other DP
did it. On The Offer, Elie followed our general rules, but he also put his
own stamp on it, and I support him on that. "
JULY 2022 / 61

http://www.ASCMAG.COM

American Cinematographer - July 2022

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

Contents
American Cinematographer - July 2022 - Cover1
American Cinematographer - July 2022 - Cover2
American Cinematographer - July 2022 - 1
American Cinematographer - July 2022 - Contents
American Cinematographer - July 2022 - 3
American Cinematographer - July 2022 - 4
American Cinematographer - July 2022 - 5
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