Cinematographer Robert Elswit has had quite a year. With two
high-profile projects playing on theater screens during Oscar season,
he’s become the go-to guy for socially conscious drama — on both
Syriana and the monochromatic Good Night,
and Good Luck, he balances you-are-there realism with crisp,
rich imagery. But Elswit’s not just an issue-oriented kind of guy —
he’s done time with P. T. Anderson (Punch Drunk
Love), James Bond (Tomorrow Never Dies),
and even a Jedi or two (as a VFX photographer for The Empire
Strikes Back). We asked him a little bit about all of
them.
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DP Robert Elswit on the set of Syriana with a Panavision XL Millennium camera and Primo lenses with Kodak Vision2 500T 5218 film stock.
Good Night and Good Luck was shot in color and turned into black-and-white in the DI.
Comments (3) for "A Little More Than Luck on Syriana and Good Night, and Good Luck"
1.
This is a most informative article - thank you. However, I wonder if there is an update to take in \"Michael Clayton\" as I found Robert Elswit\'s cinemaphotography mesmerising and would love to find out more about it. Very many thanks if anyone can help
Posted by Jonathan Posner on Tuesday, October 9, 2007 @ 01:20 PM
2.
Shame that a great DP like Elswit have such rejection for digital capture...
Posted by Carlos Ebert on Monday, February 25, 2008 @ 12:22 PM
3.
One must not also forget the filmmaking process is a collaborative process.What about the art director,camera and lighting crew, the set designer? who seem to be forgotten easily because their role is periphery.I must admit his style is very impactful,setting plays a pivital role.
Posted by Laurie Robinson on Saturday, August 2, 2008 @ 06:07 PM
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