It seemed that whenever Bartkowiak ventured from under Lumet's wing during the 80s, the result was a blockbuster. He provided the very natural look of James L Brooks' glossy Oscar-winning Best Picture "Terms of Endearment" (1983) and crafted the comic noir look for John Huston's "Prizzi's Honor" (1986) and the crisp, clean visuals for Ivan Reitman's "Twins" (1988). Since ending his creative relationship with Lumet ("Guilty as Sin" 1993), Bartkowiak has been much in demand. His taut camerawork added to the suspense of Jan De Bont's "Speed" (1994) building striking visuals from relatively little as a great deal of the film's action is confined to a speeding bus. Much of his late 90s work has involved providing striking visuals for films ranging from the special effects-driven denouements of "Species" (1995), "Dante's Peak" and "The Devil's Advocate" (both 1997) to the hand-held "L.A. as hell" look of Joel Schumacher's "Falling Down" (1993). His understated lighting and camerawork enhanced the inherent drama of the child custody-themed "Losing Isaiah" (1995). Returning to a glossier look, Bartkowiak replaced Dante Spinotti on the Barbra Streisand vehicle "The Mirror Has Two Faces" (1996). Like many other notables in his profession, he moved to the director's chair with "Romeo Must Die" (2000), a cross-cultural retelling of Shakespeare's "Romeo and Juliet" starring Asian action star Jet Li and R&B singer Aaliyah. For his second directorial effort he maintained some of the same flavor by teaming martial artist Steven Segal with rapper DMX in "Exit Wounds" (2001).