American Cinematographer - January 2001 - 37

shot

beautifully underscores Arenas's

observation that "trees have

a

secret life

that is

only revealed to those who are
willing to climb them." The director adds
with a smile, "I'm talking to the people
who want to climb the trees."

Grobet

and

Rosas

say

that

Schnabel's perspective enlarged their
views of film's possibilities and enriched

a

Schnabel says he has no plans for
third feature, and is looking forward to

ation in the Folio:

1999 80th

work, but there

me.

As

a

world

the

magazine's plaque. One of the
competition's judges commented, "From
its reclaiming a classic cover from the
1920s to the outstanding retrospectives,
American Cinematographer captured my
attention and my interest. The produc¬
tion quality of the book - paper, inks,
printing - completes what is, in my

director, I'm
-

it's hard
in it."

are no grownups

ACWins Folio: Award

Capping an award-winning year,
Cinematographerwas recently

with Julian, we related to film in a whole
other way." At press time, both camera¬

American

busy on U.S. productions
shooting in Mexico; Rosas was serving
as second-unit director of photography
on a Hallmark biopic of Fidel Castro
("Castro again, believe it or not!" he says
with a laugh), while Grobet was shooting
the Showtime production In the Time of

Publication

mind, the best of its class."

Nearly 400 magazines entered

named Best Entertainment Business
at

the

Folio

the 2000 Editorial Excellence Awards,
with 47 publications competing as final¬

Editorial

Excellence Awards, held on November 1
at the Hilton Hotel in New York City.

ists. ACfinished ahead of Entertainment

Design magazine to take the top prize (or
entertainment trade
publications. The entertainment category
for consumer magazines was won by TV

Earlier this year, AC earned Maggie
Awards from the Western Publications
Association in two

Gold Award) among

major categories:

Best Overall Trade Publication and Best

Communications,

Advertising

anniversary issue for consider¬
competition, attended

the New York dinner ceremony to accept

explain anything to anyone," he says
a laugh. "On a film, we're all work¬
ing together. There must be a part of my
brain that can do that, though, because

with

it's comfortable for

the Butterflies.

Stephen

that I don't have to talk to anyone or

the ruler of my own

were

editor

Pizzello, who had submitted the March

the

men

AC executive

returning to more solitary artistic endeav¬
ors. "The great thing about painting is

their

approaches to the medium. "I have
impression that compared to
Basquiat, this film is more like his paint¬
ings, and that, to me, is an asset," Grobet
says. Rosas adds, "Industry films are
something we do for our careers, but

Entertainment Publication.

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35
American Cinematographer - January 2001

Table of Contents for the Digital Edition of American Cinematographer - January 2001
