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I am looking around for some interviews or articles of some kind concerning the cinematography of Lance Acord, specifically for Spike Jonze's "Adaptation" film. Does anyone know of any good resources for information about that film at all? Specifically - what methods they used (I'm assuming overlaying two tripod shots) to shoot the Charlie/Donald scenes?

Any help would be greatly appreciated.

I've perused this book at Barnes and Noble a few times, and it has detailed sections on the techniques of six cinematographers (Lance Acord, Jean-Yves Escoffer, Darius Khondji, John Mathieson, Seamus McGarvey, and Harris Savides). I can't recall if the Acord section goes into detail about Adaptation specifically, but it would certainly serve as a primer on Acord's techniques.

"New Cinematographers" is a fantastic book. I can confirm that the section on Lance Acord covers his work on "Adaptation"; two pages are dedicated to this film, and although it may not seem much, I found the information practical and useful. As Jeff stated, this book is an excellent primer to Acord's work, as well as other great contemporary cinematographers.

Plus, since I'm guessing this is for a college paper, a popular book like that should arrive in a matter of days from ILL

Actually, much of the section by Lance Acord can be read online thanks to Google Books.

Great read, pretty informative. And as I expected, that they pretty much kept the duel Kaufman shots simple (seeing the shots, it looks like just static tripod shots mostly) and then overlayed them in post by splitting the two shots in half, which is simple enough. The few times they did use a more complicated shot that wasn't a tripod, he mentions using a remote controled (or automated) camera, which would run the exact same pan or tilt or whatever each time so the overlays would work right.

This isn't for a college paper - I actually have a little budget to make a film this summer and am planning on doing something that involves using the same person in the same frame, talking to themselves or whatever. It's been done several times and Adaptation is probably one of more interesting recent examples. Purple Rose Of Cairo being another (and a specific Kaufman influence, obviously).

Thanks though for pointing me in the direction of this great book. I might pick up a copy for further reading.

I'd like to third or fourth that recommendation for this book, as it was like finding a piece of gold when I was obsessing over Acord's work, especially in Buffalo '66. I literally yelped out loud in excitement when I found it. The chapter on Escoffier was more than welcome as he had, at the time of my discovery, recently passed, and reading his own thoughts on Gummo and his work with Carax was pretty eye opening.

Reading what was available online, I decided to purchase the book from Amazon, so I guess the idea of posting excerpts really does help sell the book. It does seem like a very informative read, both from a technical standpoint and just for curiosity sake.

Re-watching Adaptation tonight, there are many more instances of more ellaborate matting than I previously realized, but they still lean heavily on static tripod shots, cutaways and body double blocking.

pianocrash wrote:I'd like to third or fourth that recommendation for this book, as it was like finding a piece of gold when I was obsessing over Acord's work, especially in Buffalo '66

Of course, Gallo claims Acord's duties on the film didn't extend past pressing the record button.

Yes, but Gallo is a raving ego-maniac lunatic with a pnechant for shooting his mouth off to hear himself talk. To rely on anything the man says is like setting your watch to the wind - it makes no sense.