Sentences with phrase «with cinematographer»

Untitled (Structures), 2012 in collaboration with cinematographer Bradford Young Production still, courtesy of the artists and Lucien Terras Inc..

The same is true for his video works, and in 2008 Lawrence Weiner teamed up with cinematographer Kiki Allgeier to create Water in Milk Exists, a challenging pornographic foray into the world of corporeal irregularity.

Both film installations, were created in collaboration with cinematographer Bradford Young.

Clare Langan has collaborated again with choreographer Maria Nilsson Waller, with cinematographer Robbie Ryan and editor Adam Finch.

Abboud, with cinematographer Issa Freij, has visited these locations, documenting the sites where the original wells and springs have long since disappeared.

Working with cinematographer Martina Radwan at a photography studio in Manhattan, McElheny found that utilizing unedited footage «felt more malleable» than when he attempted to work with completed narrative films.

New to the disc is an archival interview with Tourneur from 1979 and a new interview with cinematographer John Bailey, who shot the Paul Schrader remake and studied the film in preparation.

DeVito reunites with cinematographer Stephen H. Burum (Body Double, Mission: Impossible) to create a unique, dark look to the film, which lends a grittiness to the story that works well with Mamet's pulp writing style.

Written, directed and produced by J.M. Kenny, the doc uses several interviews, including segments with director Scott, producer Milchan, writer William Hjortsberg, co-stars Mia Sara and Tim Curry, actors Billy Barty, Cork Hubbert, and Alice Playten; plus informative interviews with cinematographer Thompson, longtime Scott editor Terry Rawlings, and make - up man Rob Bottin.

««Blade Runner 2049» is filled with mind - blowing images, with cinematographer Roger Deakins and production designer Dennis Gassner giving us frame after frame of impossible, forbidding beauty: Overhead shots of a gray, cluttered Los Angeles skyline, with brief, mysterious glimmers of those iconic neon screens below; desolate, dust - blasted orange wastelands; abandoned cities stacked with ornate, neoclassical ruins; even, yes, snow.

They are definitely beautiful images, with cinematographer Emmanuel Lubezki doing superb Oscar - bound work, but Malick's determination to recreate every nuance of his childhood era becomes a hindrance in such a long, rather shapeless film.

For Call Me By Your Name, Guadagnino teamed with cinematographer Sayombhu Mukdeeprom and recording artist Sufjan Stevens, the latter of which composed news songs for the film.

Howard, with cinematographer Anthony Dod Mantle, frames both actors in close - up, letting the ping pong of their competition fill the movie.

Reunited with cinematographer / filmmaker Andrew Droz Palermo (Rich Hill), this Austin shot drama has benefitted from the extra time in post-production as it was shot in March of this year and we're sure glad she didn't waste much time between projects.

Mangold gives the film a very tense feel and, along with cinematographer Phedon Papamichael (Moonlight Mile, Phenomenon), has crafted a good - looking thriller with harrowing plays on shadows and light.

Here you'll find everything you ever wanted to know about the film: a two - part interview with director and co-writer Joachim Trier, an interview with cinematographer Jakob Ihre, a review of the film, and an essay on exile in Louder Than Bombs and Oslo, August 31st

Assistant director Terry Sanders, film critic F. X. Feeney, archivist Robert Gitt and author Preston Neal Jones are gathered to provide commentary and the disc offers the original 40 - minute documentary «The Making of Night of the Hunter,» a video interview with Laughton biographer Simon Callow, an archival interview with cinematographer Stanley Cortez, a 15 - minute episode of the BBC show Moving Pictures about the film and a clip from The Ed Sullivan Show with Shelly Winters and Peter Graves performing a scene that was cut from the film among the wealth of supplements.

Less than a year removed from his Best Director and Best Picture Academy Award wins for Birdman, director Alejandro G. Iñarritu has refueled his addicition to risky filmmaking through another ambitious collaboration with cinematographer Emmanuel Lubezki.

Working with the cinematographer David Tattersall, he concocts sequences that tilt and drift, awash in neon and a soundtrack that evokes a woozy, winking romanticism.

The celebrated Film Foundation / Cineteca di Bologna digital restoration, created in consultation with cinematographer Giuseppe Rotunno and Martin Scorsese, with uncompressed monaural soundtrack on the Blu - ray edition

Refn, along with cinematographer Natasha Braier (The Rover) shoots Los Angeles as a neon nightmare with gorgeous views.

It is also lovely to just look at, with cinematographer Xavier Perez Grobet (Chasing Papi, The Woodsman) effectively capturing the color and richness of Mexico beautifully, Last but not least, Danny Elfman (Corpse Bride, Charlie and the Chocolate Factory) contributes another winning score.

One of its new features is a commentary track with cinematographer Dean Cundey — who reveals a sly lighting technique used throughout the film to indicate when a character has become no longer human.

Don't miss: Extras include an interview with cinematographer John Bailey about Conrad Hall, the movie's cinematographer, an interview with film historian Bobbie O'Steen about the film's editing, an interview with film critic and jazz historian Gary Giddens about Quincy Jones» score for the movie, a 1988 French TV interview with Brooks, a short 1966 documentary about Capote, interviews with Capote from 1966 and 1967, an interview with writer Douglas K. Daniel about Brooks and an essay about the movie.

Along with cinematographer Seamus McGarvey (Atonement, The Hours), they make every frame look like a beautiful picture that could tell its own story.

There's no space to write about the narrative in the detail it warrants here, but Hou's methods — synced with cinematographer Mark Lee Ping Bing and production designer Wen - Ying Huang — turn the aesthetics into the story.

- Cinematography Master Class (Intensive and inspirational lighting workshop with Cinematographer John Seale)

Iñárritu does his best Terrence Malick impression with this gorgeous drama filmed largely in the Canadian wilderness, reteaming with cinematographer Emmanuel Lubezki to deliver more of the same great visuals and signature tracking shots, which amplify the realism of the never - ending suffering that Leonardo DiCaprio's character endures throughout the story.

With cinematographer Bruno Delbonnel shooting in dark rooms, with beams of light glistening on the puffs of smoke from Churchill's cigar, the script from Anthony McCarten centers on the process of government, the threat of Hitler, and the verbal maneuvers made to earn the trust of the British people.

It would be creation,» explained Hart, who directed «Fast Color» over a 28 - day shoot in New Mexico, capturing the state's stunning magic hour vistas with cinematographer Michael Fimognari.

Working with cinematographer Erik Wilson (Tyrannosaur), he creates a great sense of place with images that are pretty but also grittily atmospheric.

Carried over from the earlier DVD edition are two commentary tracks (one by co-writer Jean Gruault, Truffaut collaborator Suzanne Schiffman, editor Claudine Bouche, and Truffaut scholar Annette Insdorf, the other featuring actress Jeanne Moreau and Truffaut biographer Serge Toubiana), excerpts from the 1985 documentary The Key to Jules and Jim about the author Henri - Pierre Roche, an episode of Cineaste de notre temps from 1965 dedicated to Truffaut, and a segment from the series L'Invitie du Dimanche from 1969 with Truffaut, Moreau, and filmmaker Jean Renoir, footage of Truffaut interviewed by Richard Roud at the 1977 New York Film Festival, excerpts from Truffaut's presentation at a 1979 American Film Institute «Dialogue on Film,» a 1980 archival audio interview with Truffaut conducted by Claude - Jean Philippe, video interviews with cinematographer Raoul Coutard and co-writer Jean Gruault, and a video conversation between scholars Robert Stam and Dudley Andrew.

For about a decade, Perry has been collaborating with the cinematographer Sean Price Williams.

Working again with cinematographer Yorick Le Saux, the visuals are stunning, but there are a few more of those really obvious shots — you don't have to know La Piscine to get that the pool is Bad News, given the way it looms in the frame, like it's stalking victims — and the jittery pacing of some of the editing is at odds with the languorous and sumptuous tone of the film.

Overall the film feels more carefully crafted than «Bad Words,» with Bateman again working with cinematographer Ken Seng to create a lived - in look of muted, autumnal colors.

Working with cinematographer Toby Oliver (Get Out, Happy Death Day) and production designer Melanie Jones (The Purge, Whiplash), Robitel turns Elise's childhood home into an effectively creepy - and creaky - set piece covered in cobwebs and shadows that hide secrets both helpful and horrifying in nature.

And like those films, Happy End continues Haneke's partnership with cinematographer Christian Berger, and the two men seem to take pride in crafting endurance tests for emotional and mental anguish.

Working with cinematographer Patrick Scola (Southside with You), Grashaw photographs every scene with careful compositions, imposing a powerful claustrophobia of ordered chaos as the choices Roddy and Edwin make increasingly limit their options.

The dance sequences are beyond compare, Preljocaj's staging of them, coupled with cinematographer Georges Lechaptois's (Disorder) stunning camerawork, just astonishing.

Bonus: • Audio Commentary with Editor Billy Weber, Art Director Jack Fisk, Costume Designer Patricia Norris and Casting Director Dianne Crittenden • Audio Interview with Actor Richard Gere • Interview with Actor Sam Shepard • Interview with Camera Operator John Bailey • Interview with Cinematographer Haskell Wexler

** 1/2 / **** Image A Sound B - Extras A - starring Jamie Bell, Josh Lucas, Dermot Mulroney, Devon Alan screenplay by Joe Conway and David Gordon Green directed by David Gordon Green by Walter Chaw David Gordon Green's collaboration with cinematographer Tim Orr has borne George Washington and All the Real Girls — fruit from the tree of Americana, nourished at its roots by the twilit legacy of Terrence Malick.

But kids find a way to be kids wherever they are, and Baker's uncannily intuitive camerawork (in collaboration with cinematographer Alexis Zabe) and sparse, naturalistic dialogue draw us into Moonee's world as she sees it, in all its beauty and danger.

After a run of russet - hued collaborations with cinematographer Darius Khondji, Allen is working here for the first time with the venerable Vittorio Storaro, and the change has done him the good.

- New, restored 4K digital transfer of the English - language version of the film, with uncompressed monaural soundtrack on the Blu - ray - Alternate French - language version of the film - Audio commentary from 2005 featuring film scholar Adrian Martin - Portrait: Orson Welles, a 1968 documentary directed by François Reichenbach and Frédéric Rossif - New interview with actor Norman Eshley - Interview from 2004 with cinematographer Willy Kurant - New interview with Welles scholar François Thomas - An essay by film critic Jonathan Rosenbaum

Does the look come from your own visual sense or from collaboration with your cinematographer or production designer?

And then there's Martin Scorsese's direction, which is just as much a star as De Niro; along with cinematographer Michael Chapman, Scorsese imbues the film with a distinctive, memorable visual style that's rightly earned its place in cinematic history.

LMD: Much of the beauty of the film comes from the collaboration with your cinematographer, Mr. Doyle.

Special Features New 4K digital restoration of Charlie Chaplin's 1972 rerelease version of the film, featuring an original score by Chaplin, with uncompressed monaural soundtrack New audio commentary featuring Chaplin historian Charles Maland Jackie Coogan: The First Child Star, a new video essay by Chaplin historian Lisa Haven A Study in Undercranking, a new program featuring silent - film specialist Ben Model Interviews with Coogan and actor Lita Grey Chaplin Excerpted audio interviews with cinematographer Rollie Totheroh and film distributor Mo Rothman Deleted scenes and titles from the original 1921 version of The Kid «Charlie» on the Ocean, a 1921 newsreel documenting Chaplin's first return trip to Europe Footage of Chaplin conducting his score for «The Kid» Nice and Friendly, a 1922 silent short featuring Chaplin and Coogan, presented with a new score by composer Timothy Brock Trailers Plus: An essay by film scholar Tom Gunning

Could you talk a little bit about the visuals for the film and working with cinematographer Larry Smith?

Together with cinematographer Barry Peterson they give us the best use of tilt - shift in a comedy film that makes the locations look like a game board, and a one - take action scene to rival the one in Black Panther.