American Cinematographer - January 2002 - 68

Ancestral Travels

Cinematography of
Vittorio Storaro, ASC, AIC
The

"I know

no one

who has advanced

Hallstrom and Stapleton, who had collaborated previously on The Cider House Rules,
solidified their creative relationship on The Shipping News. "He makes the process of
a happy one," says Stapleton.
back into town and roils the waters.

filmmaking
was

had

achieve that look

before (on The Cider House
Rules) also created concern. "Right

experimenting with ways to
by applying the
modified ACE process at the inter¬
mediate stage instead of the printing
stage, according to Severn. "That way,
the look Oliver wants will be built in,
rather than

cinematography
contributed

or

to

fellowships

more

more

among

cinematographers."
-

Warren Beatty

Paperback
ISBN 0-935578-18-8
139 pages
28 Illustrations

Actual size 7.25"

x

9.25"

Compiled and edited by Ray Zone

www.cinematographer.com

Below: Petal Bear (Cate Blanchett) blows

having to be printed in,"

he says.

Stapleton's sensitivity to land¬
also impacted discussions
about the film's aspect ratio. He felt
that Newfoundland's rugged features

scape

only worked with widescreen

once

up to the last week, we were still
tussling about which format suited
the film," Stapleton recalls. "It's
simply easier to shoot in 1.85:1, but
that format doesn't give you the same
kind of tension when you go out into

the land. So I got

Steve Dunn to

conceded that the

bring in Spacey and Dench and the
child actor for me four days before
we were to start shooting. We were
lucky that the child was quite tall, and

among actors

neither of the actors

deserved

a

widescreen format, but

height differences
could make 2.35:1
framing awkward. That Hallstrom

the

set

with

a

was.

We went to

viewfinder, and I kept



American Cinematographer - January 2002

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