American Cinematographer - March 2004 - 10

[very time a major motion picture about Jesus Christ

follow - often before the offended
parties have seen even one frame of film. Predictably,
Mel Gibsons The Passion of the Christ has generated its
share of both agita(among Roman Catholic authorities, who
have questioned director Mel Gibsons motives) and angst
(among Jewish potentates, who worry that the picture will
stir up anti-Semitism).
Having seen the movie, I humbly suggest that the
protesters lay down their slingshots until they experience
this remarkable picture, which recreates Scripture with an
unprecedented degree of raw immediacy. One of the
projects great strengths is the cinematography of Caleb
Deschanel, ASC, who lends the tale an epic grandeur without veering into operatic over¬
statement. The story's emotional urgency led Gibson and Deschanel to focus in on the script's
human moments, which are fully realized by a memorable cast of main players and authen¬
tic-looking extras. The filmmakers were also influenced by the dramatic import of classical
paintings by Caravaggio, Gericault, Raphael and other masters. Deschanel recently agreed
to discuss his artful approach to the film with fellow ASC member John Bailey, and excerpts
from their conversation ("A Savior's Pain") begin on page 48.
It seems appropriate that Gibson's picture has the feel of cinema verite, because the
theme of this issue is documentary work. More and more feature filmmakers have adopted
the "you are there" aesthetic of their reality-based brethren, who continually find ways to
thrust viewers into worlds they might otherwise never experience.
This is certainly true of Touching the Void, a "docudrama" that uses actors to tell the
true story of two mountain climbers who somehow survived a horrifying experience in the
Peruvian Andes. For those of us who are not inclined to let our lives hang in the balance by
a slender length of rope, John Calhoun's piece on this intense film ("A Harrowing Hybrid,"
page 62) conveys some of the rush.
Likewise, NASCAR 3D: An Imax Experience places viewers in the driver's seat of racecars at speeds exceeding 150 mph. The show's B-camera operator, Gary Jones, interviewed
cinematographer James Neihouse and director Simon Wincer, who offered him a detailed
analysis of their track strategy ("Pole Position," page 68).
For those who prefer glamour to grit, Mayor of the Sunset Strip offers a taste of the
rock 'n' roll lifestyle as seen through the eyes of Los Angeles radio deejay Rodney
Bingenheimer, who has partied with rock royalty for more than three decades.
Cinematographers Igor Meglic and Kramer Morgenthau teamed up with producer Chris
Carter and director George Hickenlooper to create a colorful and ironic look at life in the fast
lane ("Livin' Large," page 76).
Production Slate (page 22) presents pieces on two more outstanding documentaries:
The Fog of War (shot by Bob Chappell and Peter Donahue) and Music From the Inside Out
(photographed by Tom Hurwitz).
This issue also honors the careers of three industry giants: cinematographer Miroslav
Ondricek, ASC, ACK, whose unforgettable images recently garnered him the ASC
International Achievement Award ("Lifelong Lessons, page 34); visual-effects guru Howard
Anderson Jr., ASC, who received the Society's Presidents Award after lending his enthusiasm
and magic to countless productions ("An Effect on His Peers," page 42); and renowned film
historian Kevin Brownlow, a "gentleman scholar" who earned the Society's special recogni¬
tion for saving and documenting films from the silent era ("Salvaging Cinema" page 46).
appears, protests

KDiorkulagnlads.

byPhot
Executive Editor
American Cinematographer - March 2004

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