![John Bailey, ASC: Q&A](https://cdn.theasc.com/_1329x748_crop_top-center_none/Bailey8_QA.00_05_51_06.Still001.jpg)
June 2017
John Bailey, ASC: Q&A
Bailey talks production designers, the choreography evident in Orson Welles’ Touch of Evil, and the impact cinematographers Gregory Sandor and Néstor Almendros, ASC have had on his career....more
Bailey talks production designers, the choreography evident in Orson Welles’ Touch of Evil, and the impact cinematographers Gregory Sandor and Néstor Almendros, ASC have had on his career....more
Bailey praises anamorphic 35mm’s ability to be both broad and intimate, and it’s painterly way of separating characters from their environments....more
Bailey reflects on shooting in Tokyo with director Paul Schrader, finding the appropriate style for each of Mishima’s sections while taking to heart Jack Cardiff’s Technicolor cinematography...more
Bailey offers an overview of the career of cinematographer Jack Cardiff, emphasizing the influence of painting on Cardiff’s work and its impact on his own cinematography....more
As a point of contrast to the modern emphasis on “image capture”, Bailey point to Béla Tarr’s Werckmeister Harmonies, a 145-minute movie that comprises only 39 shots....more
Bailey enthuses over The Battle of Algiers’ continuing impact on contemporary filmmakers even as modern aesthetic trends lean toward “chaos cinema.”...more
Bailey traces some of the roots of the French New Wave to Italian Neorealism, and follows the films’ influence into Hollywood....more
Bailey uses the opening shot of Jean-Luc Godard’s Contempt, photographed by Raoul Coutard, as a springboard for a discussion of the history and evolution of camera design and camera movement....more
Daviau shares this reminiscence from the set of the Barry Levinson-directed period gangster drama. ...more