American Cinematographer - October 2002 - 4

WALLY
PFISTER
"I think

we

affect the audience in

subtle ways. We're manipulating
them emotionally with light,

darkness, shapes, colors,
contours, contrast and

composition. The audience
doesn't have to know all the

just the sum of them.
very collaborative art
form, and when it's working well
you are able to achieve magic.
My goal is to tell each story
photographically in the most
appropriate way. The pictures
parts

...

This is

a

have to be true to the narrative,
either in their simplicity or
complexity. I understand the
principles and mechanics of
electronic photography, but I
hope filmmakers don't lose sight
of the power of light in their quest
for speed, spontaneity and an
economical way to shoot. Just
look at a Rembrandt, Caravaggio,
or Vermeer painting and tell me
that light isn't important. I think
we need to make every effort
to continue applying these
principles to what we do."

Wally Pfister began his career
photographer, segueing

as a news

into documentaries. He has earned
some

20 narrative credits, and

nominated for

an Independent
Spirit Award in 2002 for Memento.

was

His credits include The Hi-Line,

Insomnia and Laurel
next

Canyon. His
project is The Italian Job.
All these films

were

Kodak motion

For

an

shot

on

picture film.

extended interview with

Wally Pfister,
visit the Kodak website at

www.kodak.com/go/onfilm

To order Kodak motion
call
0

picture film,
(800) 621-FILM.

www.kodak.com/go/motion

© Eastman Kodak

Company, 2002.

Photography: ©2002 Douglas Kirkland



American Cinematographer - October 2002

Table of Contents for the Digital Edition of American Cinematographer - October 2002

American Cinematographer - October 2002 - 1
American Cinematographer - October 2002 - 2
American Cinematographer - October 2002 - 3
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