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FilmCraft: Cinematography
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The first in the FilmCraft Series, this beautiful book covers the complex craft of cinematography through discussions with notable cinematographers, like Vittorio Storaro and Christopher Doyle. With stills, photos from the sets, and in-depth exploration of both iconic and contemporary projects, from Psycho and the French New Wave classic The Week End to Chicago and Zhang Yimou's saga Hero. Get access to lauded professionals, who provide you with the perspective to think like the pros and create compelling visual stories. Apply the perspective you'll gain to your own work with practical tips, or just sit back and coast along this thoughtful, behind-the-scenes road.
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Product details
Series: Filmcraft
Paperback: 192 pages
Publisher: Focal Press; 1 edition (November 3, 2011)
Language: English
ISBN-10: 0240818628
ISBN-13: 978-0240818627
Product Dimensions:
9 x 0.5 x 10 inches
Shipping Weight: 1.6 pounds
Average Customer Review:
4.0 out of 5 stars
22 customer reviews
Amazon Best Sellers Rank:
#2,309,162 in Books (See Top 100 in Books)
What I like about this book is that it's not just the same old lighting, film stock educational book. It's full of beautiful images and interviews with top notch cinematographers. And acting buddy of mine said, this is the kind of book on camera work that even an actor can enjoy. The best part is that some of the innovative new generation of cinematographers is included (eg. Seamus McArvey, Ellen Kuras). And for the money, a real good buy.
For those of us, with a dSLR (digital Single Lens Reflex) camera or 2 or 3 or 12, which shoots HD movies, it became a very new, very fresh, image-making environment the day that still imaging tool began shooting out first movie clips. We have made a very good career, so far, in photographing and illustrating still images. In 1993 we merged with a video production company. Our filmmaking goes back to childhood and creating home movies. An intense and formal study of how the greatest feature films of all time began in college. But when that exact same, very familiar, dSLR stops shooting stills and begins making movies, is was like nothing we were 100% prepared to experience.How do we begin to look through that viewfinder, not with the decades-experience eyes of still image making, but with a hint of what the world's most brilliant cinematographers see when they look through viewfinders? That's very different than watching the end results of what they have created. We have been in search of the answer to the question for quite a few years. When we discovered, "FilmCraft: Cinematography" we had some hope that we found what we were in search of. To begin, it's a visually beautiful book to hold, from cover to cover. It's design is brilliant. Next, it's part of a "FilmCraft" series we wanted to immerse ourselves in.Authors Tim Grierson and Mike Goodridge have selected the notable careers of 21 cinematographers to explore. The creative and technological minds are best known as a "DP," Director of Photography, and they have entire team behind them in much the way we have the same when we're on a big still shoot. So, the work of a DP is more than the story of looking into the viewfinder and manipulating the lenses. That's not news to us, but discovering the intimate relationship each DP has in making great films was what we wanted to learn about as we worked to dramatically improve our own dSLR movie-making.VILMOS ZSIGMOND loves the lighting aspect of making a movie. Lighting being the core of our first three books, this volume grabbed us in the first chapter. We all saw his lighting make "Close Encounters of the Third Kind" pop off the screen. While the absence of light told the dark stories of "The Deer Hunter" and "Deliverance", with shadowy visuals which chilled our own college days. In just 10 pages we learn of how Vilmos breaks down the script into visual segments and how he develops those storyline segments through the light he sees in his mind.Starting his career as a DP's cinematographer, we see how CHRISTOPHER DOYLE's career began to take shape working for Gus Van Sant behind the camera in Hitchcock's "Psycho." Doyle relates to the actors much as we feel compelled to make a model's talent pop in still photos. It's okay if you have not studied many of Doyle's films. Many of them are low-budget projects. Yet, financial resources never hamper him, much like the bare-bones efforts of most dSLR movie shooters.We could study an entire book on MICHAEL BALLHAUS. It's embarrassing to confess how many times we have played and replayed "Working Girl" and "Broadcast News" not to mention "Something's Gotta Give" and "The Fabulous Baker Boys." The film's of Ballhaus invite the audience to examine the lives of those characters, not while sitting still, but instead through the camera's motion. Even when the camera comes to rest, the lack of motion is the drama.ED LACHMAN digs deep into a script, with a director, to tell a story from a unique perspective, which enhances the core of what the plot wants the audience to live. "Erin Brockovich" is an excellent example of his work. That big budget film very much looks and feels low-budget. It portrays the poverty and desperation in the lives of the characters we meet in the film.As still shooters, we are compelled to make pretty pictures. Cinematographers are easily driven to also capture the awe-inspiring big, big visual on exhibit in the front of a cinema. RODRIGO PRIETO's movies cannot always be told appropriately with beautiful photography. His work on "Brokeback Mountain" and "Wall Street" made big visuals, but they are sometimes vistas which are tough to see. Prieto knows how to bring us to the edge of wanting to almost look away.It's difficult to characterize the work of CALEB DESCHANEL. But as soon as you see the titles "The Black Stallion," "The Right Stuff," and "The Natural" big, dramatic images come to mind which make the brain trigger feelings of "WOW!" He brings to the screen those deep, deep emotions that the audience experiences not only in their hearts, minds, and souls but feels deep down in their guts. Everyone becomes the boy on the horse, the aging baseball player, and even the Messiah as the nails are being driven into His wrists in "The Passion of the Christ."Color typifies the work of VITTORIO STORARO, be those tones and hues the source of joy, sorrow, humor, or something which is off-putting. Just pondering, for a few seconds each, the titles of "Taxi," "Last Tango in Paris," "Reds," "The Last Emperor," "Dick Tracey," and "Apocalypse Now" easily bring those colors to mind.CHRIS MENGES began his career as a camera operator for TV documentaries. The majority of his cinematography feels like the story is being told by a photo journalist. From "Extremely Loud and Incredibly Close" to back in Chris's "The Killing Fields" days, his cameras take us places which make us feel uneasy and the harsh realities cause us to believe it's all very real.DION BEBEE is known by directors as the guy to call when big stars, big sets, and demanding schedules are involved. There are huge lighting riggings and long, long shot lists for "Chicago," "Nine," "Miami Vice," and "Collateral." And, yet, somehow Bebee has earned a reputation for turning all the complexities into award-winning successes, while respecting the time of celebrities.OWEN ROIZMAN admits to not always knowing what his style was until he had quite a few big accomplishments to his name. Once he looked back on "The French Connection," "Absence of Malice," "The Exorcist," "Three Days of the Condor," and even "Tootsie," he saw that he was not shooting documentaries, but his films had the visual depiction of people living big realities, events much bigger than themselves, as imposing as those characters may be. Roizman finds that light, those angles, and that riveted focus which makes the audience feel they are sharing a very intense series of moments.BARRY ACKROYD has been the artistic eyes of some very real stories such as "United 93" and "The Hurt Locker." His work has the feeling of a very immediate event and puts the audience in a mood which encourages a response much like a live event is unfolding. The book revels how studied Ackroyd is in his plans to execute a great shoot.ELLEN KURAS is very much a team player and determining her role in a team assists her in analyzing if a project is the right fit for her. The look of her lighting is extremely natural. This is seen in her feature film documentary work on Bob Dylan and Neil Young. That same rawness permeates many of the scenes she creates even for more whimsical scripts like "Analyze That."Studying the work of PETER SUSCHITZKY points out that script content does not necessarily define a cinematographer's style. Peter's broad portfolio spans from "The Empire Strikes Back" to "The Rocky Horror Picture Show." His work on a portion of the "Star Wars" franchise helps this book's readers to see how cinematography involves not only the director's vision, but an exploration of what has been done previously in a series, and how a fresh viewpoint is needed in each project.We enjoyed a glimpse into the finely tuned technical craftsmanship SEAMUS McGARVEY brought to "World Trade Center" in his explanation of "the five-and-a-half-minute tracking shot." How his camera moves slowly and steadily across a scene offers an almost jarring contrast between the film's painful mayhem and the very well-defined story. The story is that of an out-of-control event shown in a cinema where the audience wants to own the future and feel they have a handle on where to go from here. McGarvey restates that in "The War Zone."Many still shooters can easily fall in love with the visual style of JAVIER AGUIRRESAROBE. His is a story of collaboration with a director. Woody Allen is known for not being a film technician. Woody depends on a DP to capture his stories as he works with the cast. This is seen in "Vicky Cristina Barcelona." It's easy for the book's authors to find frames which showcase Javier's work allowing us to study beautiful stills from "The Others," "The Sea Inside," and "The Road."And what photographer does not want to study the frames of MATTHEW LIBATIQUE in "Black Swan." This book offers a fabulous look into Libatique's meticulous workflow through color-coded notebook pages. The process sounds sterile but the fluid results speak for themselves in "Requiem for a Dream" or even the "Iron Man" movies.LEGACY - As visually stimulating as each two-page spread may be, it's not a leaf-through and set-aside coffee table book. It's one which calls the reader to revisit and study time and time again. Interspersed between the chapters are five "Legacy" spreads, clearly separated by black backgrounds. They revisit the work of cinematographers no longer available to interview. When combined with the book's working professionals, the reader gets a very full view of what cinematography is all about with looks back into the work of such classics as "Doctor Zhivago," "Lawrence of Arabia," and "The African Queen," plus the work of accomplished cinematographers some of us may not know.CONCLUSION - How do you determine if a book you got to inspire you works? This one has to be a five-star from the perspective in that we could not put it down, into the wee small hours and it then kept us awake even longer, plus we were deep into it soon after sunrise. This review serves us as a guide to revisit "FilmCraft Cinematography" again and gain as a permanent fixture in our reference library.
As a cinema fan and also a filmmaker, although I graduated from college, I did not major in film or attend a film school.But despite not having majored in film, I do have a passion for cinema.In fact, if one was to visit my personal library, you would see a plethora of film books. Books on theory, books on execution and books that focuses on various filmmakers. And also along with those books is a dedicated cinema shrine of DVD's and Blu-ray's featuring the work of the world's talented filmmakers since the late 1890's to present-time.And having reviewed many films on Blu-ray and DVD and also cinema-related books, I tend to gravitate towards liking books from writers who acknowledge other filmmakers. From books such as Francois Truffaut's "Hitchcock", "The Parade's Gone By" by Kevin Brownlow, Sergei Eisenstein's "Film Form: Essays in Film Theory", Andre Bazin's "What is Cinema?", Peter Bogdanvoich's "Who the Devil Made It: Conversations with Legendary Film Directors", to name a few.And there are many books that focus on the work of these famous directors with in-depth interviews but what about cinematographers? I can think of three wonderful books and now, you can add a fourth."FilmCraft: Cinematography" by Mike Goodridge & Tim Grierson is a book which focuses on 18 cinematographers from all over the world.Featuring priceless interviews and article spotlights on the following cinematographers: Vilmos Zsigmond (Hungary/US) - Known for his work on "The Deer Hunter", "Close Encounters of the Third Kind", "Deliverance", "Maverick" and more. Christopher Doyle (Australia/Hong Kong) - Known for his work on "Chungking Express", "In the Mood for Love", "Hero", "2046' and more. Michael Ballhaus (Germany/US) Known for his work on "The Departed", "Goodfellas", "Gangs of New York", "Dracula" and more. James Wong Howe (China/US) - Known for his work on "Hud", "The Thin Man", "Yankee Doodle Dandy", "Sweet Smell of Success" and more. Ed Lachman (US) - Known for his work on "Erin Brokovich", "The Virgin Suicides", "Far From Heaven", "I'm Not There" and more. Rodrigo Prieto (Mexico) - Known for his work on "Brokeback Mountain", "Babel", "21 Grams", "Amores Perros" and more. Caleb Deschanel (US) - Known for his work on "The Passion of the Christ", "The Patriot", "National Treasure", "The Right Stuff" Raoul Coutard (France) - Known for his work on "Breathless", "Jules and Jim", "Pierrot le Fou", "Z" and more. Vittorio Storaro (Italy) - Known for his work on "Apocalypse Now", "The Last Emperor", "Last Tango in Paris", "Dick Tracy" and more. Chris Menges (UK/US) - Known for his work on "The Reader", "Notes on a Scandal", "The Killing Fields", "The Mission" and more. Dion Beebe (Australia/US) - Known for his work on "Collateral", "Chicago", "Equilibrium", "Green Lantern" and more. Jack Cardiff (UK) - Known for his work on "Rambo", "The African Queen", "The Red Shoes", "Conan the Destroyer" and more. Owen Roizman (US) - Known for his work on "Network", "The French Connection", "Tootsie", "The Exorcist" and more. Barry Ackroyd (UK) - Known for his work on "The Hurt Locker", "United 93', "Green Zone", "The Wind that Shakes the Barley" and more. Ellen Kuras (US) - Known for her work on "Eternal Sunshine of the Spotless Mind", "Blow", "Be Kind Rewind", "Coffee and Cigarettes" and more. Sven Nykvist (Sweden) - Known for his work on "Sleepless in Seattle", "Chaplin", "What's Eating Gilbert Grape", "Crimes and Misdemeanors" and more. Peter Suschitzky (UK) - Known for his work on "Star Trek: Episode V - The Empire Strikes Back", "A History of Violence", "Eastern Promises", "Mars Attacks!" and more. Seamus McGarvey (Ireland/US) - Known for his work on "Atonement", "Along Came Polly", "High Fidelity", "The Hours" and more. Javier Aguirresarobe (Spain) - Known for his work on "Twilight: New Moon", "The Twilight Saga: Eclipse", "Vicky Cristina Barcelona", "The Others" and more. Matthew Libatique (US) - Known for his work on "Black Swan", "Iron Man", "Iron Man 2', "Requiem for a Dream" and more. Freddie Young (UK) - Known for his work on "Lawrence of Arabia", "Doctor Zhivago", "Ryan's Daughter", "You Only Live Twice" and more."FilmCraft: Cinematography" by Mike Goodridge & Tim Grierson is a book that shows how each of these cinematographers have their own approach to cinema and working on their projects. Featuring their various philosophies, personalities and the differences of these cinematographers but also as the writers wanted to clear up misconceptions about their craft, the types of lenses used and how each of these individuals came from different backgrounds.But most importantly, while these cinematographers have communicated with many viewers around the world through images, through this book, it gives these individuals a chance to communicate through their own words.JUDGMENT CALL:There have been numerous books that have featured interviews with a variety of cinematographers, from those who worked during the golden years of cinema to those who worked in many films within the last century. And while the directors are typically the people who are most vocal and mostly covered in many books on cinema, the major cinematographers is one thing you don't usually find many books of.There have been wonderful books such as David Ellis' "Conversations with Cinematographers", Peter Prescott Tonguette's "Orson Welles Remembered: Interviews with his Actors, Cinematographers and Magicians" and Dennis Schaefer's "Masters of Light: Conversations with Contemporary Cinematographers"...but unlike the directors, there really is not many books that focus on a collection of interviews with these cinematographers unless you have tapped into the Criterion Collection or Masters of Cinema collection Blu-ray or DVD's which contain special features with interviews with these cinematographers for a particular film.But I have to say that "FilmCraft: Cinematography" by Mike Goodridge & Tim Grierson is a wonderful addition to anyone who are upcoming cinematographers or even a curious cineaste.But before I get into the good, let me talk about any negative aspects...trust me, there are not that many. Interviews and articles on a collective are typically subjective and when it comes to cinema, especially if you watch cinema worldwide, one thing that you want to see is a good representation of interviewees from around the world. There is a good representation of cinematographers from the UK, France, Italy, Australia, Ireland, Spain, etc. But aside from Christopher Doyle, who has worked on many Asian cinema with director Wong Kar-wai, it would have been nice to see Asian cinematographers featured.It would have been wonderful to have a Russian, Indian, Chinese, Swedish and other wonderful cinematographers featured. But that is probably my own "trying to find a negative when there aren't really any" with this book.But I'm sure a lot of cinema fans probably would want more French, Italian, America, British cinematographers featured from the past and present and I suppose that it would definitely make the possibility of "FilmCraft: Cinematography vol. 2' a good idea.Which leads me to the good news and that "FilmCraft: Cinematography" is wonderful resource featuring interviews and article spotlights with a variety of cinematographers. In fact, it's a wonderful book and the selections of cinematographers is fantastic!This book features names that shocked even me, that they got the opportunity to interview them for this book. For example, James Wong Howe. For anyone who has watched classic cinema such as William Powell and Myrna Loy's "The Thin Man", James Cagney's "Yankee Doodle Dandy", Burt Lancaster and Tony Curtis' "Sweet Smell of Success"...I don't know how many times I have watched these films and felt inspired seeing someone of Asian descent working in the film industry in classic Hollywood.And of course, along with Howe...you have to include Nouvelle Vague's Raoul Coutard who is known for working on Jean-Luc Godard and Francois Truffaut's memorable French New Wave films. So, it's great to see Howe, Coutard and a few others have received the "Legacy"spotlight in this book.I was definitely in glee when I read the interview with Christopher Doyle. I can easily remember watching "Chungking Express" and watching the scene while Cop 663 (played by Tony Leung Chiu Wai) is standing in his area and Doyle employs the quick movements on this static character. It was a scene that I would remember and he repeats another memorable scene over a decade later in "Hero" with vibrant colors and amazing camerawork. Wong Kar-wai films are beautiful and thanks to the creative freedom that Christopher Doyle has with Kar-wai, these two have made fantastic films together and you get to read about Doyle and his thoughts of working on various films. It's a wonderful chapter!And of course, the book doesn't focus on fantastic cinematographers from decades past, you also have cinematographers who have worked on modern films such as Barry Ackroyd who talks about working on "United 93', "Land and Freedom", "The Hurt Locker". You have Javier Aguirresarobe who worked with Woody Allen on "Vicky Cristina Barcelona" discussing his films, Matthew Libatique who worked on "Black Swan" and the recent "Iron Man" films. And many more!I can continue to gush about this book about why I loved it but if I had to sum it all up about what I loved about this book into one word, it would be "opportunity". The writers giving the opportunity to learn about these filmmakers through their book and these cinematographers for giving readers the opportunity to know more about their approach to their craft and their work on various films.The fact is that unless you spend a lot of money on Blu-ray or DVD's which you can hope has an audio commentary track or interview with a cinematographer, it really is awesome when you come across a book written by writers who are passionate about cinema and really went out to gather considerable names for their book. And when it comes to interview books with cinematographers, let's just say that it ranks in my top two! And I can only hope that Goodridge & Grierson continues this book with a vol. 2 in the near future.Overall, "FilmCraft: Cinematography" by Mike Goodridge & Tim Grierson is one of the best books out there when it comes to featuring famous cinematographers worldwide within the last century. The interviews are absolutely priceless, the book is well-written. and the potential of a continuing series of this book featuring more cinematographers worldwide would be wonderful.If you are a film student, an observer of cinematography or just a cineaste who are passionate about the films and the people responsible on camera, make no doubt about it... "FilmCraft: Cinematography" is highly recommended!
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