Magazine article American Cinematographer

Editor's Note

Magazine article American Cinematographer

Editor's Note

Article excerpt

The collaboration between cinematographers and directors is a delicate pas de deux. Many factors impact this key creative relationship, including the individuals' techniques, aesthetics and, above all, personalities.

On Lady in the Water, the notoriously methodical M. Night Shyamalan, who generally nails down his approach to every scene in prep, sought out a cinematographer who could shake up his usual process. He could not have made a more adventurous choice than Christopher Doyle, HKSC, whose improvisational tendencies spring from his candid, freewheeling personality. Of course, old habits die hard, as Doyle reveals to our European correspondent, Benjamin B: "I came in very early and worked with Night on the storyboarding, and it was actually pretty torturous for me - I just wanted to go film something! But we sat there and went through the film image by image." Nevertheless, Doyle still managed to stamp his imprint on Shyamalan's suspenseful fantasy, which concerns a fairytale creature who crosses over into the real world ("A Nymph in Our Midst," page 38).

On Miami Vice, Dion Beebe, ASC, ACS also found himself yoked to a legendary quality-control freak, director Michael Mann. In bringing classic TV cops Sonny Crockett and Ricardo Tubbs to the big screen, Mann and Beebe continued their Collateral foray into high-definition video, shooting most of Vice with Thomson Grass Valley Vipers, Sony CineAlta T950s and Sony CineAlta F900s. The movie's action-packed plot put all of the cameras through their paces. "We knew these cameras were going to be running around in a lot of exteriors, heat and humidity, on boats, in cars and in jets," Beebe tells Jay Holben ("Partners in Crime," page 52). …

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