Conversations on Cinematography

Victor Kemper, ASC reviews his work on the 1973 film, The Friends of Eddie Coyle, starring Robert Mitchum and shot entirely on location in Boston and Connecticut, with fellow ASC member Richard Crudo.

Lance Acord, ASC, cinematographer of Where the Wild Things Are, continues his conversation with fellow ASC member Rodney Taylor, focusing on his career and the art scene in Los Angeles and San Francisco in the 80s.

Lance Acord, ASC, cinematographer of Spike Jonze’ adaptation of Maurice Sendak’s Where the Wild Things Are, discusses the creative underpinnings of this film and the techniques he used to tackle its artistic challenges with fellow ASC member Rodney Taylor.

Owen Roizman, ASC chats about his lighting aesthetic, reveals his technique for flashing film stock and shares anecdotes from the set of the 1974 version of The Taking of Pelham One Two Three with fellow ASC member Rodney Taylor.

Wally Pfister, ASC discusses working on The Dark Knight, the use of IMAX and shooting single camera, as well as his long term working relationship with Christopher Nolan in this interview with fellow cinematographer Daryn Okada, ASC.

Willy Kurant, ASC, AFC is interviewed by Denis Lenoir, ASC, AFC about his work on Orson Welles’ 1969 production created for French television, Une Historie Immortelle (The Immortal Story). Denis Lenoir, ASC, AFC won an ASC Outstanding Achievement Award for Uprising and a Bronze Frog from the Camerimage International Film Festival of Cinematography for Demonlover. His credits include Monsieur Hire, Carrington, The Secret Agent, Fin août, début septembre, Boomtown (TV pilot) and later this year The Clearing. He is also recognized for his artful still photography and author of a book about John Cassavetes. Willy Kurant, ASC, AFC began his career shooting television news film and documentaries. He was on the leading edge of the New Wave in France. His body of work includes some 60 narrative films, including Masculin Feminin, The Immortal Story, The Night of the Following Day, Je t’aime, moi non plus, Sous le soleil de Satan, Trans-Europ-Express, Le Depart, and such contemporary films as China Moon, A Business Affair, Delivering Milo, Pootie Tang and White Man’s Burden. Photos by Douglas Kirkland, courtesy of Kodak. The Immortal Story (Une Histoire Immortelle) Written by Welles, based on a story by Isak Dinesen. Photographed by Willy Kurant. With Orson Welles, Jeanne Moreau, Roger Coggio, Norman Ashley. Immortal Story was directed by Orson Welles, who also stars as a fabulously wealthy, but bitter and dictatorial, European merchant. Soured on life, Mr. Clay (Welles) decides to play games with the lives of others. He decides to make the “immortal” legend of a sailor seducing a rich man’s wife come true and even picks the sailor (Roger Coggio) himself. Through Mr. Clay’s machinations, the sailor beds a beautiful younger woman (Jeanne Moreau) whom Clay pays to pose as his own wife. There’s little more to the story than that, but Welles weaves his short tale with an economy and expertise which proves he hadn’t lost his touch by 1969. Based on a story by Isak Dinesen, The Immortal Story was originally made for French television; it was also the only Orson Welles-directed film to be released in color. — Hal Erickson, All Movie Guide