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Through conversations held with fifteen of the most accomplished contemporary cinematographers, the authors explore the working world of the person who controls the visual look and style of a film. This reissue includes a new foreword by cinematographer John Bailey and a new preface by the authors, which bring this classic guide to cinematography, in print for more than twenty-five years, into the twenty-first century.

A story of love and betrayal set against the turbulent frame of fascist Italy, it percolated and finally boiled over with ideas on family, politics, art, ambition and the search for and the inexorable loss of identity in the modern world. Over drinks and a discussion of director Suarez' desire to include in his tango musical a dance that recalls political tortures by the military junta in seventies Argentina, the producer says, \"Don't complicate things. In a darkened office Professor Quadri throws open the drapes and pure white light floods into the room, blinding his ex-student, Marcello's shadow cast against an adjacent wall. Photo: Robert Primes, ASC JOHN BAILEY'S seventy plus feature films include Boulevard Nights (1978), American Gigolo (1980), Ordinary People (1980), The Big Chill (1983), The Accidental Tourist (1988), A Brief History of Time (1991), In the Line of Fire (1993), As Good as it Gets (1997), For the Love of the Game (1999), Forever Mine (1997), Divine Secrets of the Ya-Ya Sisterhood (2002), Brief Interviews with Hideous Men (2009), He's Just Not That Into You (2009), When in Rome (2010), and Ramona and Beezus (2010).

Caleb Deschanel has been nominated for five Academy Awards for Best Achievement in Cinematography: The Right Stuff (1983), The Natural (1984), Fly Away Home (1996),The Patriot (2000), and The Passion of the Christ (2004). [...]by visually I mean with camera moves and lighting, with contrast, with composition and color, use of filters-all those elements have, sometimes subliminally but ultimately, a very important aspect for impressions on the audience. The scene where he's taking a walk in front of his mother's place and these leaves on the ground start blowing and you start to dolly in and up as they go by. [...]she runs into the forest and the assassins follow her and that's all shot with the camera handheld. [...]here it is, Kurtz's compound.

[...]I realized that making cinema is a big opportunity to be a student. Because with every movie we have a chance to open a new door, to gain knowledge of something we never had before. [...]he became an independent filmmaker. [...]he was initiated as a Knight and it was the first time that Caravaggio began to think he might convince the Pope [Paul V] to grant him a pardon, the first step to come back to Rome and resume his life and work there. [...]in Messina, Caravaggio received word, thanks to the push of Prince Borghese, the cousin of the pope who badly wanted Caravaggio to paint for him, as well as Constanza Colonna and others, that the pope had conferred on Caravaggio a grace.

Noted for his films with the late director Sidney Pollack, Three Days of the Condor (1975), The Electric Horseman (1979), Absence of Malice (1981), Tootsie (1982) and Havana (1994), Roizman's other films include Play it Again, Sam (1972), The Taking of Pelham One Two Three (1974), True Confessions (1981), The Addams Family (1991), and Grand Canyon (1991). Roizman has won two Lifetime Achievement Awards: from the American Society of Cinematographers (ASC)(1997) and at Camerimage, the International Film Festival for the Art of Cinematography (2001). There's less a theory of movie light (than) the theory of Nature, about the sun and the moon and the journey of light. Gentry was also a contributor to American Cinematographer for thirteen years and has written for such diverse publications as the Los Angeles Times, Rolling Stone, Film Quarterly, USA Today and Sports Illustrated.

[...]many by Caravaggio were not acceptable in some of the eminent churches because his work went against papal doctrine and the mentality of the Inquisition at that time. Because when you really believe in something strongly, when you really love something very strongly, sooner or later it will become a reality. Because there's not only the negative side to this story, of course. Television now is opening a new door for us because producers know that mature viewers tend to stay at home and they can invest in films for TV for that audience.

The fact that he's riding in that car to that death scene with this goon of a driver and the absolute horror of this murder that he rather fatalistically has to execute of his former teacher. There are elements of that in Taxi Driver, but I think Taxi Driver is a much more conscious attempt to do a psychological portrait, an analytical portrait. [...]there was one film when it opened that because I got there early, I decided to go into the theatre before the end of the previous screening because I wanted to look at Vittorio's visualization-the lighting, color, composition, camera movement-independent of that. [...]I envy these young people seeing that film for the first time.

Caravaggio was the only one that I know of, in his time, who was the \"independent filmmaker\"-because he was able to choose the story, the costume, the set, the light, the composition. Because painting is a single art work. Because remember the scene, when his mother dies, he's not allowed to come out of that \"prison.\" Because [it was] the prime minister in the Forbidden City who really ruled, not him. [...]on One from the Heart, when Francis brought me to Las Vegas to see the new technology coming out, we discovered that the theater was using a lightboard because they cannot change the light like we do every shot.

Going back to how Storaro studies the script to come up with his ideas, for you the script is a type of provisional outline, and you shoot the film in chronological order to permit changes along the way, particularly with your endings. Moving on to Tango, it's interesting to me that Tango and Carmen are very similar in their concept of portraying a director who is mounting a production, but in Tango there also is a character who represents the cinematographer, and who explains the concept of using colors to express both the emotional development of the protagonist and the symbolic journey of immigration throughout time. [...]in Goya en Burdeos there are practically no projections. In speaking about his youth, Storaro has mentioned that his father, who was a projectionist, used to bring home films of Charlie Chaplin, and that watching those silent films helped Storaro to read images. Since you had the opportunity to know Charlie Chaplin on a personal basis, does Storaro ever talk to you about him and his films? CS: