American Cinematographer - September 2000 - 14

Hollywood's fascination with serial kil ers has
produced

string of classic films over the years,
surprising why. Pictures such as
Psycho, The Boston Strangler and The Silence of the
Lambs not only give filmmakers the chance to build
suspense in truly cinematic ways, but also allow
actors to show off their chops (sometimes quite liter¬
ally, as Anthony Hopkins could attest).
In The Cell, director Tarsem and cinematogra¬
pher Paul Laufer delve even further into a serial
killer's madness, thanks to a futuristic premise that
uses science to send a psychologist (Jennifer Lopez)
directly into the mind of a murderer (Vincent D'Onofrio). To make the voyage memo¬
rable, Tarsem and Laufer have rendered the characters' mental landscapes in a surre¬
alistic visual style rife with fetishistic overtones. This month's cover story ("Mind
Games," page 42) reveals some of the adventurous techniques that were used to
a

and it's not

enhance the tale's macabre narrative.
The Way of the Gun ("A Pocket Full of Shells," page 60) also puts a new spin
time-honored genre. Writer/director Christopher McQuarrie's postmodern
"Western with cell phones" features incongruously eloquent thugs who grapple with

on

a

existential dilemmas before

settling their

scores

in

a more

traditional

manner

brutal hail of bullets). Cinematographer Dick Pope, BSC underscores the script's
with a visual style that slyly recalls Technicolor Westerns of the 1950s.
The makers of TNT's

Nuremberg,

a

(i.e., a
ironies

four-hour miniseries that premiered this

past July ("Crimes Against Humanity," page 94), set themselves a bold challenge by
re-creating history's first war-crimes tribunal. Director Yves Simoneau and cinematog¬

rapher Alain Dostie brought an appropriately sober style to the project, which earned
critical kudos.
At the other end of the spectrum,

the 3-D Imax spectacular Journey of Man
performances by Cirque du Soleil ("Larger Than Life," page 104) with fanciful
panache. ASC members John Hora, Reed Smoot and Peter Anderson lent their exper¬
tise to the film's impressive "in-your-face" effects, and our coverage includes 3-D
viewing exercises that you can try at home.
Finally, this issue explores the production scenes in the U.K., Toronto and
Australia (pages 118-144), whose governments offer various incentives to motionpicture companies.
renders

Stephen Pizzello, Executive Editor
e-mail: stephen@theasc.com
Tel:886-2-2999'1906
Fax:886'2-2999-1955

http://www.gripxom.tw
E'mail:kupo@tpts4.seed.net.tw
12

2000

Maggie Awards

Best Overall Trade Publication

Best Communications,

Advertising

or

Trade Publication



American Cinematographer - September 2000

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

American Cinematographer - September 2000 - 1
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