Cinematographer Mihai Malaimare Jr. speaks with American Cinematographer's Jim Hemphill about his work on Francis Ford Coppola's film Tetro, delving into the specifics of the film's unique visual style, shooting on location in Argentina, and his experiences shooting High Definition Video....more
Owen Roizman, ASC chats about his lighting aesthetic, reveals his technique for flashing film stock and shares anecdotes from the set of the 1974 version of The Taking of Pelham One Two Three with fellow ASC member Rodney Taylor....more
Newton Thomas Sigel, ASC talks about the film stocks, lenses and digital intermediate processes that he employed to create the look of the film, as well as the impact of Tom Cruise signing on to what had originally been a small and low-budget project....more
Cinematographer Matthew F. Leonetti, ASC and visual effects supervisor Richard Edlund, ASC discuss some of the classic techniques on display in this 1982 horror classic directed by Tobe Hooper....more
Wally Pfister, ASC discusses working on The Dark Knight, the use of IMAX and shooting single camera, as well as his long term working relationship with Christopher Nolan in this interview with fellow cinematographer Daryn Okada, ASC....more
Guillermo Navarro, ASC, AMC — cinematographer of Hellboy II: The Golden Army — discusses shooting tooth fairies and elementals, creating otherworldly environments and working alongside director Guillermo del Toro with American Cinematographer contributor Iain Marcks....more
Willy Kurant, ASC, AFC is interviewed by Denis Lenoir, ASC, AFC about his work on Orson Welles’ 1969 production created for French television, Une Historie Immortelle (The Immortal Story)....more
Part 2 of a wide-ranging interview with Alik Sakharov, ASC that reveals secrets about the show’s controversial ending and offers an in-depth overview of his work on the series....more