Writer Of Light

Rating:
Summary: a bit weak
Review: the book is a collage of articles already written, many of which the reader may have already seen. most of the articles reiterate information found in the other chapters. While i appreciate the few moments when you feel you get a glimpse into who this person is, there simply are not enough of them. I feel most of what you gain by reading this book you could gain by simply watching his films.

I'm disappointed. hopefully a book comes out at some point that is much more personal and insightful.

Rating:
Summary: a bit weak
Review: the book is a collage of articles already written, many of which the reader may have already seen. most of the articles reiterate information found in the other chapters. While i appreciate the few moments when you feel you get a glimpse into who this person is, there simply are not enough of them. I feel most of what you gain by reading this book you could gain by simply watching his films.

I'm disappointed. hopefully a book comes out at some point that is much more personal and insightful.

Rating:
Summary: Writer of Light Is a Winner
Review: Words have lost much of their meaning in today's society. Nowhere is this more obvious than in how freely certain terms are thrown around in regular conversation. That so-so supper your co-worker had the other night? It was "great!" At the ballpark, .250 hitters are commonly hailed as "legends." In the film world, well, I don't even want to get into what passes for "superb" these days. As for our own little corner of it though, there has developed over the years a sense of dignity among cinematographers, a quality of being able to quickly and succinctly size up people and situations and call them for what they are, even if those observations go no further than the tip of the tongue. This should not be surprising. In addition to a brute sort of honesty, the job demands humility. Over a lifetime of working in the camera department, I'm yet to meet an exaggerator among the group.

And this is precisely why the alarms go off when I hear superlatives thrown around with regard to a cinematographer, especially one who is still alive and enjoying the middle phase of a thriving career. The difference with Vittorio Storaro ASC, AIC is that the words really mean something.

Every one of us is a craftsman to a large extent. Of all the cinematographers who have ever placed an eye to the camera, perhaps fifteen or twenty have legitimately elevated that craft into something more. Among them, Storaro's unique artistry has assured him a place on yet a higher level. It is well known that his lighting, composition and use of color have revealed new ways of thinking about the moving image. Just as interesting is the underlying philosophy that makes up the basis for so many of his choices.

"Writer of Light" goes a long way toward demystifying the Storaro process. Rather than just provide a standard recitation on film stocks and T-stops, this book -- essentially a compilation of material first published in American Cinematographer Magazine -- offers something entirely different. As a group, cinematographers are generally not noted to be great explainers of what they do. This is not true of Storaro. Under the informed questioning of noted cinematography writers Ray Zone and Bob Fisher, the deconstruction of his approach to such wonderful films as "Apocalypse Now," "One From the Heart," "Little Buddha" and "Bulworth" is at once passionate, articulate and provocative. Like all people confidently perched at the top of their profession, Storaro makes his achievements seem easily found, as if they are within reach of the average person. Believe me, they are not. His line of thought, at once sophisticated and accessible, leaves you with the certainty that his life and work are inextricably joined -- and the sum of the parts is the magic we see on the screen.

Obviously, for Storaro, feeling and inspiration supercede all technology. But he hardly has his head in the clouds -- or in the sand. Having delivered sterling work in every format, from Beta Cam to 65mm, he is crystal clear on where the industry should be heading. "We must bring digital video up to the standard of film, not the other way around."

"Writer of Light" is filled with so many similarly concise observations that it is hard to imagine someone being so right so much of the time.

While a warm hearted foreword by Warren Beatty sets the tone, the book also contains some other treasures: a piece by Steadicam inventor Garrett Brown on his experiences with Storaro during the shooting of "One From the Heart" and "Bulworth," an article on the personal Storaro by "Apocalypse Now" assistant director Jerry Ziesmer and a brief examination of the Francis Coppola-directed segment of "New York Stories" entitled, "Life Without Zoe" by David Heuring and Nora Lee. Black-and-white production stills and a good number of beautifully reproduced color plates lifted from the relevant films provide a glowing counterpart to the text. A detailed filmography rounds things out.

The American Society of Cinematographers recently gave Storaro their Lifetime Achievement Award. Those three simple words carry a lot of meaning when you see them embossed on the trophy itself, but in this case it would have been appropriate to squeeze in just two more: great artist. "Writer of Light" will show you the reasons why.