Publisher: Michael Wiese Productions
Release Date: August 01, 2009
Jacqueline B. Frost’s Cinematography for Directors utilizes original interviews with the following cinematographers:
(Sid and Nancy, Barton Fink, The Shawshank Redemption, Fargo, Kundun, A Beautiful Mind, The Village, Jarhead, No Country for Old Men, The Assassination of Jesse James by the Coward Robert Ford, Revolutionary Road, Prisoners, Sicario)
(Amores Perros, Ten Tiny Love Stories, 25th Hour, 8 Mile, Frida, Alexander, 21 Grams, Brokeback Mountain, Babel, Broken Embraces, Biutiful, We Bought A Zoo, Argo, The Wolf of Wall Street, Silence, The Irishman)
(Pi, Requiem for a Dream, Phone Booth, Gothika, She Hate Me, Inside Man, The Fountain, The Number 23, Iron Man, Iron Man 2, Miracle at St. Anna, Black Swan, Noah, Straight Outta Compton, Chi-Raq, Money Monster, Mother!)
(Witness, The Hitcher, The Mosquito Coast, Rain Man, Dead Poet’s Society, Lorenzo’s Oil, The Firm, The Paper, The American President, The English Patient, Ghosts of Mississippi, City of Angels, The Talented Mr. Ripley, The Perfect Storm, Harry Potter and the Sorcerer’s Stone, Cold Mountain, Spanglish, Mad Max: Fury Road)
(The Texas Chainsaw Massacre, The Texas Chainsaw Massacre [remake], Captivity, Alien vs. Predator: Requiem, Friday the 13th [remake], The Apparition, The Boy, Mom and Dad)
(Book of Shadows: Blair Witch 2, November, Loverboy, The Nines, A Beautiful Life)
Richard P. Crudo
(American Buffalo, American Pie, Dirty People)
She also interviews Donald Petrie (Mystic Pizza, Grumpy Old Men, Richie Rich, The Associate, Miss Congeniality, How to Lose a Guy in 10 Days, Welcome to Mooseport, My Life in Ruins) in order to give the reader a director’s perspective.
Block quotes from these original conversations intermingle with quotes taken from American Cinematographer magazine to provide the meat of Jacqueline B. Frost’s text, which is certainly required reading for anyone who is looking for a foundation on which to build a knowledge of cinematography—especially those looking for insight on how a director collaborates with these artists and artisans.
Frost provides contextual structuring while allowing these quotes to inform her readers and illustrate how different cinematographers and directors tend to have very different sensibilities and working methods. Such a format makes for interesting reading, but it must be said that the result is decidedly repetitive. With some finesse and a lot of editing, the book’s page count could probably be cut in half without losing any pertinent information. It sometimes reads as if Frost has forgotten that she has already covered certain material (sometimes nearly verbatim).
Cinephiles are also likely to be somewhat irritated that many of the included screenshots that provide illustration to Frost’s text have been horizontally stretched. Frankly, stretching a film’s photography is downright careless and almost unforgivable in a book that is all about how a film’s image is paramount to how an audience interprets a film. A book about cinematography should present such illustration much more care than this one does. Neither of these issues should discourage the burgeoning filmmaker from picking up the book, but it is difficult not to lament these missed opportunities and careless oversights.