International cinematographers provide in-depth insights on their latest productions
Rachel Morrison ASC made Academy Award history this year as the first female nominee for the Best Cinematography Oscar, and she takes time to talk to British Cinematographer about her latest Blockbuster release Black Panther and reflects on the differences to her nominated-work on Mudbound – discussing directors, lighting and location shooting.
Ron Prince talks to Dutch-Swedish cinematographer Hoyte van Hoytema FSF NSC ASC about working on Christopher Nolan's WWII epic Dunkirk and the challenges of filming on 65mm IMAX and large-format 65mm film.
For the March 2020 cover feature. we spoke exclusively in-depth with Mulan cinematographer Mandy Walker ACS ASC - once described by Baz Luhrmann as 'an Artist and a General'. She tells us about linking up with Director Niki Caro, bringing elegance to epic battle scenes that were shot in-camera, and where the development of the ‘Petzval’ and ‘Chi’ lenses proved fruitful.
For the January 2020 cover feature. we spoke exclusively in-depth with 1917 cinematographer Roger Deakins CBE BSC ASC.
Deakins - who has cleaned up during awards season with Oscar, ASC, BAFTA and BSC accolades for his visuals - tells us about building the film’s dramatic journey as one continuous shot, the switching of cameras between systems during shooting takes, and lighting the spectacular scene in the bombed-out town.
In our November 2019 cover feature, Rodrigo Prieto AMC ASC spoke to us about work on director Martin Scorsese’s new epic, The Irishman. Prieto tells us about the ‘three-headed monster’ used for de-aging the actors, the changing colour tones through the decades, and why the visual tone was like a home movie.
Ben Smithard BSC speaks to us about his ‘double whammy’ of shooting the grandiose Downton Abbey and the highly-acclaimed Blinded By The Light. Smithard tells us the challenges of going big on Downton and how that affected his choices of camera and lenses; plus why on Blinded he would have preferred to shoot on film and how the ‘Storm Scene’ is his DP favourite.
Robert Richardson ASC spoke to us about teaming up with Quentin Tarantino for a fifth time to produce Once Upon A Time In Hollywood, which premiered at the 2019 Cannes Festival. ASC Lifetime Achievement recipient Richardson tells us about his love of capture on celluloid film, keeping the capture grounded in the film’s 1969 era and why the movie is so “very, very, very Quentin”.
George Richmond, son of the renowned cinematographer Anthony Richmond BSC ASC, tells us about Rocketman's journey of colour, the joy of being free to be whacky and experimental during the production, and the challenge of shooting the entire film in just 60 days.
Ben Davis BSC speaks to us about bringing the live-action version of Dumbo to life, the challenges of representing a giant CGI elephant, the great collaborations which brought the images to life, and why the gamble of waiting on the production to get the green-light paid off.
Dion Beebe ACS ASC joins forces for a fifth time with director Rob Marshall to bring Mary Poppins back to life more than 50 years after the original. Beebe tells us about paying homage to a classic whilst wrapping a new generation into the story, the value gained from constructing LUTs in pre-production, and the fun to be had with a mixed-bag of lighting tricks.
The acclaimed productionPeterloo, shot by Dick Pope BSC, depicts a bloody and brutal episode in British history. Pope tells us why there is never a conventional script on director Mike Leigh’s production, how he rose to the challenge of shooting the spectacular massacre sequence, and how Akira Kurosawa’s techniques influenced how he captured the battle.
Seamus McGarvey BSC ASC’s latest production, Bad Times At The El Royale, took centre stage in Issue 89. He tells us why “film is for life”, as well as explaining why shooting exteriors in a studio proved advantageous, and how gaffer Stuart Hegarty’s flexible lighting plan aided production.
For Mission: Impossible - Fallout, the sixth incarnation of the Tom Cruise-starring series, cinematographer Rob Hardy BSC tells us about why he chose the wider-end of the lens range, the choice to deploy a back-to-basics style of filmmaking, and the challenge of lighting inside Paris’s Grand Palais.