Cinematographer Peter Zeitlinger and filmmaker Werner Herzog talk with American Cinematographer's Iain Marcks about Herzog's unique shooting style, and how his freestyle approach fosters great performances and requires much flexibility from the crew.

Rodney Taylor, ASC, cinematographer of That Evening Sun, talks with AC’s Jim Hemphill about shooting a low-budget anamorphic feature on location and finishing using old school photochemical techniques.

Lance Acord, ASC, cinematographer of Where the Wild Things Are, continues his conversation with fellow ASC member Rodney Taylor, focusing on his career and the art scene in Los Angeles and San Francisco in the 80s.

Lance Acord, ASC, cinematographer of Spike Jonze’ adaptation of Maurice Sendak’s Where the Wild Things Are, discusses the creative underpinnings of this film and the techniques he used to tackle its artistic challenges with fellow ASC member Rodney Taylor.

Cinematographer Mihai Malaimare Jr. speaks with American Cinematographer's Jim Hemphill about his work on Francis Ford Coppola's film Tetro, delving into the specifics of the film's unique visual style, shooting on location in Argentina, and his experiences shooting High Definition Video.

Owen Roizman, ASC chats about his lighting aesthetic, reveals his technique for flashing film stock and shares anecdotes from the set of the 1974 version of The Taking of Pelham One Two Three with fellow ASC member Rodney Taylor.

Newton Thomas Sigel, ASC, cinematographer of Valkyrie, speaks with American Cinematographer's Jon Silberg about the film stocks, lens and digital intermediate processes that created the look of the film as well as the impact of Tom Cruise signing on to what had originally been a small and low-budget project.

Cinematographer Matthew Leonetti, ASC and visual effects supervisor Richard Edlund, ASC sit down with American Cinematographer's Iain Marcks to discuss some of the classic techniques on display in the 1982 film Poltergeist.

Wally Pfister, ASC discusses working on The Dark Knight, the use of IMAX and shooting single camera, as well as his long term working relationship with Christopher Nolan in this interview with fellow cinematographer Daryn Okada, ASC.

Guillermo Navarro, ASC, AMC — cinematographer of Hellboy II: The Golden Army — discusses shooting tooth fairies and elementals, creating otherworldly environments and working alongside director Guillermo del Toro with American Cinematographer contributor Iain Marcks.