Joe Anderson portrays Garrett Tully. (Photo by Rodney Taylor, ASC.)
When Rodney Taylor read the script for Supremacy, he saw a story that could benefit from Super 16 origination and a gritty, handheld aesthetic. The cinematographer mentioned Black Swan, The Hurt Locker and a couple of other recent Super 16 films in his first meeting with Deon Taylor, the basketball player-turned-director. He immediately liked the idea, even though the film had been budgeted for digital video.
Supremacy is the hard-hitting story of a white supremacist, recently paroled, who takes an African-American family hostage. The filmmakers found some Gordon Parks documentary photographs that had an edgy, dimly lit mood with an ominous hint of violence, and used them as a starting point for developing a look for the film.
Kenneth Branagh, Haris Zambarloukos, BSC and Lily James on the set of Disney’s live-action feature inspired by the classic fairy tale, Cinderella. (Photos by Jonathan Olley, ©Disney Enterprises, Inc. All Rights Reserved.)
Together, Haris Zambarloukos, BSC and Kenneth Branagh have made the otherworldly Marvel pic Thor, the stylish Michael Caine vehicle Sleuth, and the spy thriller Jack Ryan: Shadow Recruit. Each of those projects also was made on 35mm film. Their latest collaboration, a live-action update of Disney’s Cinderella, adds yet another completely different project to their body of work.
When he got the call, Zambarloukos was initially hesitant. “When I read the script, I began to realize what a great opportunity it was,” he says. “It’s an ancient, timeless story with versions in many cultures. Within Disney’s version of the tale is a tragic orphan story that is almost Dickensian. And after our first meeting, I realized why Ken wanted to do it – it’s a chance to make a classic, the first of its kind, in a new way. It’s a big responsibility.”
Director Gavin O'Connor and Mandy Walker, ASC, ACS
In Jane Got a Gun, a woman must turn to her former fiancé for help in defending her new family. The film, which stars Natalie Portman and Ewan MacGregor, gave Mandy Walker, ASC, ACS an opportunity to work in the Western genre, something many cinematographers dream of doing.
“There’s something unique and iconic about cowboys riding horses across the landscape, or tracking low angle on people confronting each other in a cowboy hat with a couple of guns,” she says. “I think all DPs would love to tackle the genre at some stage.”
Since Amy Belling’s first film premiered at the 2003 Toronto International Film Festival, she has been both a producer and cinematographer. Belling finds an ease and a challenge in playing dual roles. On her most recent endeavor, the musical comedy Songs She Wrote About People She Knows, it was par for the course.
“My producer brain never shuts off completely,” she explains. “It can be a hindrance to the creative process of directing and cinematography, but on the flip side, being a producer, and having built the budget and negotiated most of the vendor deals, it can be a huge asset in troubleshooting.”
Robert Downey Jr. and Robert Duvall in "The Judge" a Warner Bros. Pictures release. Photo by Claire Folger. Copyright: © 2013 WARNER BROS. ENTERTAINMENT INC. ALL RIGHTS RESERVED
Janusz Kaminski is a two-time OSCAR® winner who is best known for his many collaborations with Steven Spielberg, including Schindler’s List, Saving Private Ryan, Minority Report, Catch Me If You Can, Munich, War Horse and Lincoln. Kaminski’s credits also include such memorable films as The Diving Bell and the Butterfly, Jerry Maguire and How Do You Know.
When Kaminski chooses a project to shoot outside of his collaboration with Spielberg, he is selective. Recently, he brought his keen eye and gift for visual storytelling to The Judge, a feature film for director David Dobkin. The film opened the 2014 Toronto International Film Festival.