Herb A. Lightman
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Historical
An Old Master Shows Some New Tricks on Sunset Boulevard
“I believe that a motion picture should be alive and not dead — spontaneous instead of calculated,” says director of photography John F. Seitz, ASC.
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Historical
Discussing the Set Design of Blade Runner
Creating the look of the future, and the thought process behind it, as explained by director Ridley Scott and “visual futurist” Syd Mead.
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Historical
Blade Runner: Cronenweth’s Photography
The director of photography works to achieve the classical noir look Ridley Scott wanted for his futuristic sci-fi masterpiece.
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Historical
Best Achievement In Cinematography: Butch Cassidy and the Sundance Kid
Conrad Hall, ASC, awarded coveted Oscar as top cinematographer of 1969, discusses challenges and techniques of photographing the winning film.
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Historical
Owen Roizman on Filming The Exorcist
The director of photography on what may be the most shocking film ever made describes the unique problems and challenges involved in translating a best-selling novel into stunning visual images.
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Historical
On Location With Ryan’s Daughter
American Cinematographer editor journeys to an isolated corner of Ireland to observe filming of this new David Lean production.
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Historical
Shadows: Experimental Film Venture
Looking at John Cassavetes’ directorial debut — a film pieced together on the fly that resulted in extensive critical praise.
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Historical
The Dramatic Photography of Who’s Afraid of Virginia Woolf?
Inspired camerawork is all-of-a-piece with brilliantly cinematic filmization of famous stage drama.
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