{"id":140302,"date":"2020-10-16T10:03:52","date_gmt":"2020-10-16T15:03:52","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=140302"},"modified":"2020-10-16T10:14:47","modified_gmt":"2020-10-16T15:14:47","slug":"michael-chapman-cinematography","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/michael-chapman-cinematography\/","title":{"rendered":"Remembering the Cinematography of the Late Michael Chapman"},"content":{"rendered":"<h2 id=\"in-honor-of-the-late-michael-chapman-lets-explore-the-high-contrast-and-bright-colors-of-the-acclaimed-cinematographer-behind-taxi-driver-and-raging-bull\">In honor of the late Michael Chapman, let&#8217;s explore the high contrast and bright colors of the acclaimed cinematographer behind <em>Taxi Driver<\/em> and <em>Raging Bull<\/em>.<\/h2>\n<p>Tragically, <a href=\"https:\/\/www.imdb.com\/name\/nm0152469\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Michael Chapman<\/a> passed away earlier this year. And, in the subsequent days and weeks, a flood of mourners began sharing the huge amount of respect they had for the famous cinematographer online. However, there&#8217;s much more to be said about Michael Chapman\u2019s cinematography than merely a <a href=\"https:\/\/twitter.com\/scorsesepedia\/status\/1308241538950946817\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\"><em>Taxi Driver<\/em> GIF shared on Twitter<\/a>.<\/p>\n<p>Chapman was a superbly talented camera operator and a visionary director of photography who was responsible for developing two of <a href=\"https:\/\/www.imdb.com\/name\/nm0000217\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Martin Scorsese<\/a>\u2019s most famous, dark-world pictures \u2014 <a href=\"https:\/\/www.imdb.com\/title\/tt0075314\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\"><em>Taxi Driver<\/em><\/a> and <a href=\"https:\/\/www.imdb.com\/title\/tt0081398\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\"><em>Raging Bull<\/em><\/a> \u2014 as well as the driving force behind a whole decade of action thrillers and smart, big-budget comedies.<\/p>\n<p>So, along with giving our due respect to the huge cinematic achievement which is <em>Taxi Driver<\/em>, as well as other famous examples, let\u2019s dive into how Chapman was able to hone his craft, develop his style, and impart his genius to audiences across the world.<\/p>\n<hr \/>\n<h3 id=\"the-importance-of-storyboarding\">The Importance of Storyboarding<\/h3>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/rrEF7RNuKhU?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>For all those who thought we were going to dive into the rich tapestries of shooting neon lights in grungy New York \u2014 you\u2019re wrong. We\u2019re going to start with the basics: storyboarding! And, despite Chapman\u2019s quote (in the video above) about \u201cloathing storyboards\u201d in general, the fact that Scorsese was able to be convince him to give due credit to this necessary building block of cinema form is a testament to the importance of the process.<\/p>\n<p>Speaking specifically on <em>Taxi Driver<\/em> and working with Scorsese (also in the video above), you can see the painstakingly detailed storyboards that \u201cMarty\u201d would draw up in conjunction with Chapman to detail the \u201cenergy and emotion\u201d behind every action and camera movement for each sequence.<\/p>\n<p>You can also see how the entire process was a huge learning opportunity for Chapman, who had only recently come up as a talented camera operator (earning his first notoriety for his work on <a href=\"https:\/\/www.imdb.com\/name\/nm0000229\/?ref_=tt_ov_dr\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Steven Spielberg<\/a>\u2019s <a href=\"https:\/\/www.imdb.com\/title\/tt0073195\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\"><em>Jaws<\/em><\/a>). Chapman was given a firsthand look into how the minds of great directors and cinematographers were meant to be an intricate mix between the meticulously planned and the deeply emotional and explosive.<\/p>\n<p>If you&#8217;re looking to improve your storyboarding, by the way, get started with some of these helpful primers:<\/p>\n<ul>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/storyboarding-film-tips-next-project\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Storyboarding Your Film: Tips for Your Next Project<\/a><\/li>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/top-5-storyboarding-apps\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Top 5 Storyboarding Apps for You to Explore in 2020<\/a><\/li>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/10-tips-for-creating-storyboards-from-dreamworks\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">10 Tips for Creating Storyboards from Dreamworks<\/a><\/li>\n<\/ul>\n<hr \/>\n<h3 id=\"cinematography-as-service-to-the-story\">Cinematography as Service to the Story<\/h3>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/XnTzPeK2Yf4?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<blockquote><p>Cinematography doesn\u2019t have to be beautiful, it has to be appropriate to what your eye is seeing.<\/p><\/blockquote>\n<p>I promise we\u2019ll get to <em>Taxi Driver<\/em> and <em>Raging Bull<\/em> and the rest of Chapman\u2019s big-named features next, but after storyboarding and intentionality, our next focus is on Chapman&#8217;s mindfulness of how good cinematography \u2014 and <em>his<\/em> cinematography, in particular \u2014 needs to service the story that it\u2019s trying to tell.<\/p>\n<p>For any camera operator or aspiring cinematographer or director, this language is key, as it illustrates just why you\u2019ll see such rich, seedy images of New York in one of Chapman\u2019s films, then stark, bare-bones, black-and-white POV shots in the next. And, even further as you begin to look into Chapman\u2019s work on music videos, comedies, and Looney Tunes crossovers.<\/p>\n<p>Chapman has proven, throughout his career, that every shot and every scene needs to be reflective of the story it&#8217;s trying to tell. Not just in how it\u2019s framed, but in how the lighting is cast, how the perspective is adjusted, and exploring the gaze it projects from one of its characters <em>or<\/em> directly for the audience to interpret.<\/p>\n<hr \/>\n<h3 id=\"high-contrast-and-strong-colors\">High Contrast and Strong Colors<\/h3>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/yE8EJDIDYNw?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>OK, finally! Let\u2019s talk <em>Taxi Driver, <\/em>the film that launched the careers of Martin Scorsese and <a href=\"https:\/\/www.imdb.com\/name\/nm0000134\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Robert De Niro<\/a>, and the film that most people associate (for good reason) with Chapman\u2019s cinematography work.<em>Taxi Driver<\/em> is regarded as one of the most cinematic, best shot movies, not just of its decade (the 1970s), but of all time.<\/p>\n<p>However, if you look both backward and forward through Chapman\u2019s career, you can see the styles he worked to develop over the years fully emerge in this beautiful picture. Chapman has a solid set of skills for working with high contrast and strong colors. In many of his films, Chapman uses these looks to highlight disparities between characters and themes.<\/p>\n<p>In <em>Taxi Driver<\/em>, particularly, he and Scorsese chose to paint the streets of New York with perfectly picked locations to capture the bright neon signs that pop off the screen against the dark, gritty night-lit streets. Chapman goes further, as you can see in the cinematography montage above, by casting De Niro\u2019s Travis Bickle in the same harsh lights, as he helps Scorsese track the character&#8217;s descent into film notoriety.<\/p>\n<hr \/>\n<h3 id=\"quick-movements-and-improvisation\">Quick Movements and Improvisation<\/h3>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/eYLKKS2p5b4?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>Following the success of <em>Taxi Driver<\/em>, Chapman would famously partner again with Scorsese on <em>Raging Bull<\/em> \u2014 a film I\u2019d argue is actually superior in terms of its cinematography exploits and as a pure master class of craft. In <em>Raging Bull<\/em>, Scorsese and Chapman were really able to go off the ropes (so to speak) and create a cinematic world that was rife with style and raw innovation.<\/p>\n<p>As you can see in the video breakdown below, there were many elements of the storytelling which were unique and fascinating, but cinematographically speaking, Chapman was able to fully embrace a quick movement style and frequently work without structure and with on-set improvisation. These are most notable in the boxing scenes where Chapman was able to physically strap the camera to actors, with improvised rigs for creative shots and chaotic movements.<\/p>\n<p>Coupled with the pure contrast of the black-and-white cinematography, and the large waves between silent and subtle scenes, as well as the explosive fight montages, <em>Raging Bull<\/em> catapulted both Chapman and Scorsese from up-and-comers to some of the biggest names in the industry. And, it really was Chapman\u2019s DP work on this feature that allowed him to helm so many major blockbusters after.<\/p>\n<hr \/>\n<h3 id=\"action-and-comedy-and-beyond\">Action and Comedy and Beyond<\/h3>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/vbt40hHVaH4?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>From his early days in the &#8217;70s working his way up from a camera op, by the time the &#8217;80s and &#8217;90s hit, Chapman was clearly an in-demand director of photography, able to bounce between projects seamlessly thanks to his service-focused approach. While Scorsese would go on to work with several different cinematographers over the years, Chapman was quite content to delve further into big-budget genres \u2014 like action thrillers and comedies.<\/p>\n<p>Notable features Chapman shot include <a href=\"https:\/\/www.imdb.com\/title\/tt0093437\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\"><em>The Lost Boys<\/em><\/a>, <a href=\"https:\/\/www.imdb.com\/title\/tt0106977\/?ref_=nm_knf_t2\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\"><em>The Fugitive<\/em><\/a>, <a href=\"https:\/\/www.imdb.com\/title\/tt0097428\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\"><em>Ghostbusters II<\/em><\/a>, <em><a href=\"https:\/\/www.imdb.com\/title\/tt0099938\/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Kindergarten Cop<\/a>,<\/em> and a personal favorite of mine \u2014\u00a0<a href=\"https:\/\/www.imdb.com\/title\/tt0117705\/?ref_=nv_sr_srsg_2\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\"><em>Space Jam<\/em><\/a>. But, make no mistake, for each of these pictures, you can see many of the same style choices and influences Chapman developed from his early days, still often employing strong contrast, and innovative and technical camera movements.<\/p>\n<p>While some of the films don\u2019t quite live on in the same cinephile circles online and on Twitter, it\u2019s quite inspiring to go back and see just how Chapman was able to stay true to his roots while also evolving his craft perfectly as both audiences and the industry changed over the years.<\/p>\n<hr \/>\n<p>For more cinematography profiles and insights, check out these articles:<\/p>\n<ul>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/janusz-kaminski-cinematography\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Analyzing the Vast and Versatile Cinematography of Janusz Kami\u0144ski<\/a><\/li>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/charlotte-bruus-christensen-cinematography\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Take Back the Power: Cinematography with Charlotte Christensen<\/a><\/li>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/matthew-libatiques-innovative-cinematography\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Traverse the Unknown: Matthew Libat\u00edque\u2019s Innovative Cinematography<\/a><\/li>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/reed-morano-cinematography\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">How Reed Morano\u2019s Cinematography Turns the Camera into a Character<\/a><\/li>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/steven-soderbergh-cinematography\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">The Auteur Cinematography of \u201cPeter Andrews\u201d a.k.a. Steven Soderbergh<\/a><\/li>\n<\/ul>\n<hr \/>\n<p><em>Cover image via <a href=\"https:\/\/www.mgm.com\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">MGM<\/a>. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In honor of the late Michael Chapman, let&#8217;s explore the high contrast and bright colors of the acclaimed cinematographer behind Taxi Driver and Raging Bull.<\/p>\n","protected":false},"author":76,"featured_media":140712,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4519,3843],"tags":[1093,536],"class_list":["post-class-post-140302","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-cinematography-2","post-class-category-filmmaking-2","post-class-tag-cinematography","post-class-tag-filmmaking"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v27.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Remembering the Cinematography of the Late Michael Chapman<\/title>\n<meta name=\"description\" content=\"In honor of the late Michael Chapman, let&#039;s explore the high contrast and bright colors of the acclaimed cinematographer behind Taxi Driver and Raging Bull.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.premiumbeat.com\/blog\/michael-chapman-cinematography\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Remembering the Cinematography of the Late Michael Chapman\" \/>\n<meta property=\"og:description\" content=\"In honor of the late Michael Chapman, let&#039;s explore the high contrast and bright colors 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