Rodney Taylor, ASC, cinematographer of That Evening Sun, talks with AC’s Jim Hemphill about shooting a low-budget anamorphic feature on location and finishing using old school photochemical techniques....more
Lance Acord, ASC, cinematographer of Where the Wild Things Are, continues his conversation with fellow ASC member Rodney Taylor, focusing on his career and the art scene in Los Angeles and San Francisco in the 1980s....more
Lance Acord, ASC sits down with fellow ASC cinematographer Rodney Taylor to discuss Spike Jonze’s adaptation of Maurice Sendak’s classic book....more
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