To talk about acclaimed cinematographer Wally Pfister<\/a> is to talk about his long-running creative partnership with director Christopher Nolan<\/a>. The two have combined forces on seven movies (so far), and it’s frankly awe-inspiring to see the films listed together. These collaborations read more like a “best of” than a resume: Memento<\/em><\/a>, The Dark Knight Trilogy<\/em><\/a>, Insomnia<\/em><\/a>, Inception<\/em><\/a>, and The Prestige<\/em><\/a>.<\/p>\n For many, Pfister is synonymous with giant anamorphic and IMAX spectacles and vast wides that build worlds in a single breathtaking frame. Nonetheless, Pfister\u2019s cinematography, while certainly at home in mega-budget blockbusters, is also quite personal and audience-focused. His high-brow high concepts and visceral action sequences are rooted in the hustle of documentary filmmaking and the grind of working hands-on as a humble camera man.<\/p>\n Let\u2019s take a look at what makes a Wally Pfister film a Wally Pfister film, and see what lessons his work has to offer anyone who aspires to use cinematography as a means to capture chaos and create worlds.<\/p>\n
\nFocus on the Center with Anamorphic and IMAX<\/h3>\n