Haskell Wexler, ASC: On Working with Others, and Conrad Hall, ASC
Wexler's take on collaboration, and his lifelong friendship -- and competition -- with Conrad Hall.
Owen Roizman, ASC: Shooting the French Connection
Shooting The French Connection using available light in the subway sequences, shooting in freezing temperatures, and his surprise at how much many zoom shots are in the film.
Owen Roizman, ASC: The Taking of Pelham, One , Two, Three
How he convinced the producers to shoot anamorphic on the film, and well as his pioneering technique of pre-flashing the film stock to get more detail in the shadows.
Owen Roizman, ASC: Network and Sidney Lumet
Roizman talks about working with Sidney Lumet, his drive, organization and professionalism, as well as his dispute with Faye Dunaway over her lighting.
Owen Roizman, ASC: Tootsie and director Sydney Pollack
The challenges of lighting Tootise so that Dustin Hoffman would 'pass' as a woman, including keeping the temperature on set low so he wouldn't sweat.
Owen Roizman, ASC: ASC and the Future
Roizman talks about early memories of the ASC, the society's role in the craft of cinematography, being a past President of the ASC, and the society's future.
Gordon Willis, ASC: Relativity
Willis explains the importance of relativity in a visual scheme, citing The Paper Chase as an example.
Gordon Willis, ASC: Editing
Willis discusses the danger of giving editors “too many options.”
Gordon Willis, ASC: Working with Writers
“Good scripts are good scripts, and very few people start with good scripts anymore.”