The upcoming July issue of American Cinematographer includes a complete production piece on the superhero hit Wonder Woman, directed by Patty Jenkins and photographed by Matthew Jensen, ASC.
As noted in the issue’s cover story:
A comic-book staple for 75 years, Wonder Woman had been eyed for a big-screen adaptation for nearly two decades. And with its achievement, Warner Bros. Pictures has not only produced the character’s big-screen debut, but also the latest title in the DC Extended Universe — following Man of Steel, Batman v Superman: Dawn of Justice (AC April ’16) and Suicide Squad.
At the helm of Wonder Woman was director Patty Jenkins, whose enthusiasm for the character is unmistakable. "I loved Wonder Woman in a clean and simple way, and felt what she stands for is very powerful," says Jenkins, home in L.A. one day after wrapping post. "She believes in beauty and love — things that make her different from any other superhero. The struggle for years was, 'What do we do with Wonder Woman?' My answer was, 'What do you mean? Just do Wonder Woman as an origin story. She's got a legion of fans — let's do it.'"
Jenkins tapped Matthew Jensen, ASC as her director of photography. The cinematographer had shot Josh Trank's sci-fi thriller Chronicle as well as episodes of HBO’s Game of Thrones, and he earned his superhero cred shooting Trank's Fantastic Four reboot (2015).
Jensen initially had to decline Jenkin’s offer, as the schedule overlapped with the birth of his first child — but Pine's availability pushed the shoot, which allowed Jenkins to get her first choice. "His work is incredible," she enthuses. "He shot Filth on film and gave it a strong, interesting look that is so deftly executed. We share similar taste and aspirations, which is the best thing you can find in a partner."
Jensen’s work with motion-picture stocks was key, as Wonder Woman would be captured predominantly on film — which appears to be DC Entertainment's overall direction, and is also Jenkins' preference. Film-capture is best, she says, "if you are looking for epic, smooth elegance. It can soak you into a period without your noticing you're in the modern world. You can't do that yet with digital. I've tried. Film creates an illusion of a glamorous world. That was important because we were trying to bake in the elements of both period and illusion. Film's veneer brings it all together."
This issue also features in-depth coverage on
• The Bad Batch
Director of photography: Lyle Vincent
• Better Call Saul
Director of photography: Marshall Adams, ASC
• Lady Macbeth
Director of photography: Ari Wegner
Director of photography: Mathias Hernd
This July issue – in both print and digital editions — will be arriving soon.