Podcast: The Adventures of Anthony Dod Mantle, part 2

Here’s the second part of my cross-ocean conversation with cinematographer Anthony Dod Mantle. After discussing his work on “127 Hours” and his use of the Silicon Imaging 2k camera for Danny Boyle, Anthony explained his current stereoscopic gig on the European film “Dredd” (yes, based on the same source material as Stallone’s “Judge Dredd” but a much different, darker take). That led to a larger conversation about the 3D paradigm and how best, in his view, to utilize all this technology for good, old-fashioned artistic purposes.

Podcast: Adventures of Anthony Dod Mantle, part I

With Academy Award nominations out, the movie awards’ season is now at full heat. In the cinematography category, last year’s big bling collector—the innovative Anthony Dod Mantle—wasn’t nominated this time around for a chance at back-to-back Oscar or ASC awards, although he and “127 Hours” co-DP Enrique Chediak were nominated for a BAFTA award for their work on that film. Still, when I reached Anthony recently by Skype after he had just wound up a long day of golf in Cape Town, South Africa, where he was shooting a European 3D sci-fi feature called “Dredd,” he chuckled about his doubts that “127 Hours” could earn him the same award recognition as “Slumdog Millionaire” did last year. He suggested that perhaps “127 Hours,” this year’s collaboration with director Danny Boyle, was “just a little radical for common taste.” Nonetheless, as with “Slumdog Millionaire” before it, “127 Hours” featured extensive and unique utilization of the Silicon Imaging 2k camera system that Mantle has been on the forefront of pioneering in feature films in recent years. He was gracious enough to spend his time recovering from golf to discuss those applications, and more, with me.

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