American Cinematographer interviews cinematographers, directors and other filmmakers to take you behind the scenes on major studio movies, independent films and popular television series.Subscribe on iTunes
The Man in the High Castle / James Hawkinson
Director of photography James Hawkinson connects with filmmaker and American Cinematographer contributor Iain Marcks to discuss his work in the imaginative Amazon Studios series The Man in the High Castle.
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Louder Than Bombs / Jakob Ihre
Director of photography Jakob Ihre sits down with filmmaker Jim Hemphill to discuss his work on the acclaimed independent film Louder Than Bombs.
Download podcast (39 min.)
Die Hard (1988) / Jan de Bont, ASC
Cinematographer Jan de Bont, ASC, talks about his dynamic visual approach to the action classic Die Hard. Citing an affinity for a proactive camera and experimental lighting, De Bont details how he and his collaborators achieved “the right style for the right moment.”
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Unforgiven (1992) / Jack N. Green, ASC
Jack N. Green, ASC, connects with AC via Skype to discuss his work on Clint Eastwood’s acclaimed Western Unforgiven. Touching on his three-decade collaboration with Eastwood, Green discusses several aspects of the project, including the decision to shoot in Alberta, Canada; how he worked with production designer Henry Bumstead to develop a period-correct lighting scheme and muted color palette; the importance of shooting anamorphic; and what it’s like to collaborate with a director who is also the star.
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Mad Men / Christopher Manley, ASC
Cinematographer Christopher Manley, ASC, discusses his work on the acclaimed drama Mad Men, including what he learned from taking some turns in the director’s chair, the production’s transition to digital capture, and his unique collaboration with Phil Abraham, who shot the pilot and moved on to direct many episodes of the series.
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’71 / Tat Radcliffe
Cinematographer Tat Radcliffe connects with AC via Skype to discuss the gritty period thriller ’71, which he calls “a political piece, a documentary piece and a psychodrama.”
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Black or White / Russ Alsobrook, ASC
Russ Alsobrook, ASC, discusses his approach to the drama Black or White, in which a grieving widower struggles to retain custody of his young granddaughter in the wake of his wife’s death. Alsobrook explains why the filmmakers made last-minute decisions to go digital and to shoot widescreen, how they made the most of the 2.40:1 frame, and how he used lighting to illuminate the story’s complicated emotional terrain.
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Ordinary People (1980) / John Bailey, ASC
Cinematographer John Bailey, ASC, discusses his work on the acclaimed drama Ordinary People, which marked Robert Redford’s directorial debut and was one of Bailey’s earliest feature credits. Bailey discusses how Redford, then at the peak of his acting career, came to choose him for the project, how the seemingly disparate styles of Vittorio Storaro and Gordon Willis influenced his work on the picture, and how he approached scenes in the most important set — a strategy that led, many years later, to his landing the job shooting In the Line of Fire for Wolfgang Petersen.
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AC correspondent Iain Stasukevich surveys the scene at the 22nd annual Camerimage International Film Festival in Bydgoszcz, Poland. One of the largest gatherings of cinematographers in the world, Camerimage features several categories of competition, honors select filmmakers for their career achievements, includes seminars and panel discussions, and showcases some of the latest cinematography equipment. Featured in this podcast are cinematographer Michael Neubauer, BVK; director David Scott Smith; Phil Greenstreet of Rosco Laboratories; Sarah Priestnall of Codex; Mike Hibarger of Panavision; and AC correspondents Benjamin Bergery and David Heuring.
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Angel Heart (1987) / Michael Seresin, BSC
Michael Seresin, BSC, connects with AC via Skype to revisit his work on Alan Parker’s Angel Heart, a dark, atmospheric thriller that has gained iconic status in cinematography circles since its theatrical release in 1987. Sharing several anecdotes about the shoot, Seresin reveals how an early wardrobe test for lead actor Mickey Rourke became one of the film’s signature images, how he captured one of Robert De Niro’s most memorable scenes, and how he approached the infamous, blood-drenched sex scene that leads to the story’s denouement.
Download podcast (35 min.)