American Cinematographer - November 2000 - 28

tlingly forlorn tableaux in Neil LaBute's
Your Friends & Neighbors (1998; see AC
Sept. '98). And tourists tripping down
Hollywood Boulevard can see her work in
Forever Hollywood, an hour-long tribute
to Tinseltown that plays regularly at the
Egyptian Theatre.
This month, you can also go to a
local multiplex in any civilized area of the
world and find Schreiber's
least

one

screen,

name on at

thanks to her recent

assignment in a small but infamous
patch of Maryland woods.
Schreiber
Baltimore

area

traveled

to

the

last winter to shoot Book

of Shadows: Blair Witch 2, the highly
anticipated sequel to last year's runaway
hit The Blair Witch Project (see AC April
'99). The production reunited Schreiber
with director Joe Berlinger (Brothers
Keeper, Paradise Lost: The Child
Murders at Bobin Hood Hills), whom she
first met in the mid-1980s at
Films in New York; Schreiber

After

spending

a

strange night in
the woods with
her friends near

Burkittsville,
Maryland, college
student Erica
Leerhsen begins
to feel the effects
in Book of

Shadows: Blair
Witch 2.

26 November 2000

with Martin Scorsese

Movies. Rock 'n' roll fans have

first fictional feature with Book of

Through American
probably
caught the 1990 Amnesty International

By

concert

chances are good that
you've seen the work of Nancy Schreiber,
ASC, perhaps without even knowing it.
Film buffs have most likely seen her
photography in the documentaries
Visions of Light:
The Art of
Cinematography or A Personal Journey

work¬

ing on her own documentary, Possum
Living, and Berlinger was an executive
producer at the company. Schreiber later
photographed several commercials for
Berlinger and his partner, Bruce Sinofsky,
and they also asked her to do additional
photography on their Emmy-nominated
documentary
Paradise Lost 2:
Bevelations( 1999).
Berlinger, who was making his

Revisiting Old Haunts
by Rachael K. Bosley
now,

Maysles

was

Bruce

film, for which she followed

Springsteen, Sting, Peter Gabriel

and other
as

performers to countries such
Zimbabwe, Greece, India and Brazil.

Art-house aficionados

might recall her
impressionistic images in Temistocles
Lopez's Chain ofDesire( 1993) or her star¬

Shadows, felt that Schreiber's diverse
skills behind the camera would be invalu¬
able on the $10 million production, not

only because the project's visual concept
totally up in the air when he began
working on it, but also because of its
tight shooting schedule. "Nancy was my
first thought," Berlinger attests. "She
was

AEnrteriasim

GAebocnsuorftte,sy

byPhots



American Cinematographer - November 2000

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

American Cinematographer - November 2000 - 1
American Cinematographer - November 2000 - 2
American Cinematographer - November 2000 - 3
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