American Cinematographer - January 2000 - 9

For mil ions of Americans, pro football has long
been

a staple of Sunday afternoons. If the U.S. is
modern-day equivalent of ancient Rome at its
peak, then gridiron tilts are surely our version of glad¬
iatorial combat. While sacking the quarterback is
certainly safer than slicing up an opponent with a
sword, football still allows its fans to experience a full
range of vicarious thrills. It can also be viewed as an
apt metaphor for American society, in which individ¬

the

ual ambition often collides with

a

collective (read:

corporate) goal.
In his

film Any Given Sunday, director
angle, like a coach mapping plays on
a blackboard. This time around, however, Stone teamed with a new cinematographer,
Salvatore Totino, when his longtime collaborator behind the camera, Robert
Richardson, ASC, proved unavailable. Our coverage of the picture includes both a
detailed article on Totino's work ("Smash-Mouth Football," p. 34) and a lively interview
with the always-provocative Stone ("Calling the Plays," p. 48).
Since Oscar season is upon us, this issue of AC also includes coverage of
several other pictures that may compete for the golden statuette. The first of these
prestige projects, The Green Mile, was directed by Frank Darabont, who followed the
success of The Shawshank Fledemption by adapting his second consecutive script
from a Stephen King prison story. Darabont (see interview beginning on p. 86) teamed
with cinematographer David Tattersall, BSC ("The Longest Walk," p. 72) to bring King's
fiction to the big screen.
In Angela's Ashes, an Irish family finds itself imprisoned not by iron bars, but
by abject poverty. Directed by Alan Parker and photographed by Michael Seresin, BSC,
the film presents a detailed and very naturalistic rendering of the tribulations depicted
in author Frank McCourt's autobiographical, Pulitzer Prize-winning book. In our article
about the production ("A Hard-Knock Life," p. 96), Seresin and other key members of
Parker's crew discuss their approach to the material.
The world depicted in The Talented Mr. Ripley ("Alter Ego," p. 56) could not be
farther from the dank alleys of Dublin. Adapted from a novel by Patricia Highsmith, this
high-toned tale of treachery plays out in a succession of elegant European locales. No
strangers to scenic surroundings, director Anthony Minghella and cinematographer
John Seale, ACS, ASC have followed their Oscar-winning collaboration on The English
Patient With another sumptuous effort.
Oliver Stone

THE FLYING EYE

explores these themes from

new

every

PROJECT

Main Office: 396-332.64.343 © & fax

26, Via Piansano - 00189 - Rome - hALY
LA. OFFICE-310-203 1447
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e-mail:

stephen_pizzello@cinematographer.com



American Cinematographer - January 2000

Table of Contents for the Digital Edition of American Cinematographer - January 2000

American Cinematographer - January 2000 - 1
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