The Camera Report with Sean P. Malone Sean Malone

I’m Sean P. Malone in Los Angeles, California and this is The Camera Report.Our guest today is Anne Coates, a film editor with over 60 years of experience. And though her prolific career covers numerous classics such as Becket, Murder on the Orient Express, The Elephant Man, What About Bob?, In the Line of Fire, Out of Sight, and Erin Brockovich, she is kind enough today to reminisce about her groundbreaking work on one of the greatest films of all time, Lawrence of Arabia. In our interview with Anne, she shares how she first became interested in filmmaking, how she got the job editing David Lean's masterpiece, and other insightful stories from the nearly two year process of making Lawrence. Visit facebook.com/camerareport and like our page for updates, or to give us feedback. The Camera Report is produced by Brad Malone and Sean P. Malone. I’m Sean P. Malone, thanks for listening.

Seamus McGarvey, ASC, BSC is one of today's most sought after cinematographers, and for good reason. His body of work bears out his ability to light and shoot across a variety of genres, from opulent, classically beautiful costume dramas like 'Atonement', to the simple yet sleek sci-fi look of 'The Avengers', to the more documented styles of movies like 'High Fidelity' and 'We Need to Talk About Kevin'. Coming soon for Seamus is 2014's 'Godzilla', but while prepping for that highly anticipated monster movie, Seamus took some time to talk to us about 'Anna Karenina', his third feature film collaboration with director Joe Wright, and the reason for Seamus' recent Oscar nomination.

Thank you for listening to this episode, the second BSC Edition of The Camera Report. The Camera Report is produced by Brad and Sean Malone. Want to ask a question or make a comment? Like The Camera Report on Facebook and connect with us. We really want your feedback. Thanks so much for listening!

Hi I'm Sean P. Malone in Los Angeles, California and this is The Camera Report.

This edition of The Camera Report features interviews with Vilmos Zsigmond, ASC and David Stump, ASC. I caught up to Vilmos and David a few months ago at a Global Cinematography Institute special presentation, where they and other instructors from GCI talked about the school's purpose and approach.

David Stump, ASC is a cinematographer, a VFX supervisor and a stereographer. He has served as an effects DP on movies like 'X-Men' and 'X2', and he recently was senior stereographer on 'The Immortals'. His expertise on the changing landscape and technologies of film production are on display here, and in the recent documentary film, 'Side by Side'. David currently is an instructor at the year-old Global Cinematography Institute, teaching "Digital Cinematography."

Vilmos Zsigmond, ASC is a director of photography who has lent his beautiful photography to some of cinema's best moments. 'Close Encounters of the Third Kind', 'Deliverance', 'McCabe and Mrs. Miller', 'The Deer Hunter', and more recently, 'The Black Dahlia'. His sensibilities behind the camera continue to inspire cinematographers and filmmakers the world round. Vilmos is currently teaching "Lighting for Feature Films" at GCI, and co-founded the school with previous Camera Report guest, Yuri Neyman, ASC.

If you want to learn more about GCI, join Vilmos, Yuri and other instructors at Filmtools on March 9th, for a sample class presentation. They will be talking about the next session of classes that begins April 13th. One disclaimer before you hear these interviews: when I interviewed David and Vilmos I was writing a story about changing technology in cinematography, but since that time I myself have been taking GCI's course one. I am also helping them out with a future journalism related project. Thanks and enjoy the interviews.

Thank you for listening to this edition of The Camera Report. Go to globalcinematography.com to find out about GCI's March 9th event, and their upcoming session. Want to ask a question or make a comment? "Like" The Camera Report on Facebook and send us a message. I'm Sean P. Malone, thanks for listening.

This month's guest on The Camera Report hardly needs an introduction. If you know contemporary cinema, you know Roger Deakins' beautiful and award-winning work — From the comical and sleek art deco glean of the 'The Hudsucker Proxy', to the suspicious dutch angles of 'Doubt', to the stormy Texas skies and campfire light of 'True Grit', Roger's art behind the camera is among the finest of our day. His frequent collaborations with today's top directors amount to the type of visual excellence only a great cinematographer can provide.
On the very first "BSC Edition" of The Camera Report, he speaks to us about his work on the latest James Bond film, director Sam Mendes' 'Skyfall'. Roger's critically acclaimed cinematography on the film has just earned him his tenth Oscar nomination, a historical first in that category for the franchise.
Stay tuned for more "BSC Edition" episodes where members of The British Society of Cinematographers share insights about their work. Have you liked our Facebook page yet? Please, go to facebook.com/camerareport and like our page. You won't regret it.
Thanks for listening.

'Man on Fire', 'Gone in Sixty Seconds', 'Swordfish', 'Deja Vu', 'Collateral." If you've seen any of these titles, then you've seen the work of this month's guest, director of photography Paul Cameron, ASC.

His interest in photography started with a Polaroid camera when he was 15 years old — and his journey from taking Polaroid pictures as a kid, to the images he now captures for Hollywood's most noteworthy directors, is one worth taking in. You can do just that at his website, paulcamerondp.com and you'll see what I mean. As a side note, take a look at some of Paul's TV commercials as well. You may have missed some on your boob tube that are just incredibly shot.

Paul's latest film is 'Total Recall', a brand new re-imagining of Philip K. Dick's 1966 short story, We Can Remember It for You Wholesale. With images worthy of the Philip K. Dick cinema tradition, and as stark as any you'll see on the screen this Summer, Total Recall is a feast for the science fiction lover's eyes. Paul speaks to us about shooting the futuristic world of 'Total Recall' as practically as possible, film preservation in the age of digital transition, and what it means to richly "layer" an image.

Thank you for downloading this episode of The Camera Report, produced by Brad Malone and Sean Malone. For more episodes of The Camera Report please visit waterfootfilms.com and click on the PODCAST link. Subscribing is easy and free. Also, search for Waterfoot Films on Facebook and then "Like" us to see updates. If you'd like to offer feedback about the show, email us at podcast@waterfootfilms.com.

Thanks for listening!

It's Summer 2012 — and that means your friendly neighborhood Spider-Man is once again slinging webs on the big screen. But according to this month's guest, 'The Amazing Spider-Man' inhabits a gritty and realistic world the likes of which his movie going fans have never seen. We got to talk to the film's director of photography, and avid Spider-Man fan, John Schwartzman, ASC about his Amazing work on this much anticipated blockbuster.

John has shot more blockbusters than many cinematographers have seen. He is known for the moving, dynamic camera style that made action films like director Michael Bay's 'The Rock', 'Armageddon' and 'Pearl Harbor' so memorable... but he is no one trick pony. He was nominated for an Oscar and won an ASC award for his thoughtful and classically beautiful work on 'Seabiscuit', and his other credits include 'The Rookie' and 'Benny & Joon'. He speaks to us today about shooting 'The Amazing Spider-Man', the state of the art Red Epic cameras John borrowed from Peter Jackson's 'The Hobbit', and about his career in the movies.

Thank you for downloading this episode of The Camera Report, produced by Brad Malone and Sean Malone. For more episodes of The Camera Report please visit waterfootfilms.com and click on the PODCAST link. Subscribing is easy and free. Also, search for Waterfoot Films on Facebook and then "Like" us to see updates. If you'd like to offer feedback about the show, Email us at podcast@waterfootfilms.com.

Thanks for listening!