Sentences with phrase «about cinematography with»

The topic was loosely based around Wally Pfister's Transcendence, and the guys wanted to talk about cinematography with a man who works in it.

Not exact matches

About Blog Combine love of cinematography with a passion for cooking.

The script is not perfect, and there were a few minor scenes that did not ring true - but the overall package is amazing - the perfect cast from top to bottom, most of the script, the acting, cinematography, directing, score, everything about this movies pays homage to a by - gone era of American Films and does it with taste and class.

The use of music together with the outstandingly beautiful cinematography and interesting things the movie has to say about the gap between rich and poor and how mankind apparently fucked up its gene pool is very fascinating and interesting.

With the Oscars coming up I've been rethinking a lot about the Cinematography of 2010 and there're so many brilliant shots in films I love.

The Blu - ray's 2.40:1 picture is just about flawless, treating us to Kaminski's deservedly celebrated cinematography with remarkable sharpness, vibrance, and clarity.

Refn recently chatted with The Dissolve about the films that served as milestones in his life, and the soundtracks and cinematography that most left a mark on his work.

While Thomas W. Kiennast's black - and - white cinematography is quite beautiful to behold (Gröning's film certainly features some excellent cinematographic moments as well), Atef's film never manages to convey why we should care, today, about this brief moment in Schneider's well - documented life, including her never - ending struggle with the German press, her inability to escape the role of Sissi that made her instantly famous as a teenager, and the various tragedies that befell her, including the suicide of her ex - husband.7 The film is not a biopic per se (and Atef declared that she did not intend to make one): thus, audiences who are not already familiar with Schneider certainly will not come away from viewing the film with much of a sense of her life's story); yet, given it is not a biopic, one wonders what the film is, or what it tries to accomplish.

The spare cinematography burns bright and harsh in southwest sunlight that simmers the already edgy relations and Hellman directs the ambiguous script with always surprising flourishes, keeping the audience in the dark about the true nature of the odyssey as the characters talk around the conflicts as they warily eye one another.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

Taking place in a cornfield somewhere in southern Germany, the film evokes Malick's work not only because of its heavy - handed philosophising dialogue but also because of its strained attempt to infuse its cinematography with the very meaning that its dialogue about philosophy, including Being and Time, never achieves.

Blackhat is a globetrotting physical journey all about the intangible movement of data, ostensibly factual pieces of code and information that Stuart Dryburgh's half - crisp, half - blurred digital cinematography points out as filled with half - truths and interpretative subjectivity.

I know that's big words to say about Birdman, but it's a perfect amalgamation of highly skilled acting, tight script, phenomenal cinematography, masterful editing, and amazing direction all intertwined with intelligent social commentary and metaphorical existentialism.

Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.

«Stepping Into Darkness: The Visual Design of Sicario» focuses on crafting the film's look and defining cinematography, «Blunt, Brolin and Benicio: Portraying the Characters of Sicario» features interviews with the three leads, «Battle Zone: The Origins of Sicario» researches the brutal history of drug violence along the border (it features graphic imagery so beware), and «A Pulse from the Desert: The Score of Sicario,» which runs about 6 minutes, profiles composer Jóhann Jóhannsson.

The film rates this high for me not just because of its technical skill (the ensemble acting is terrific, with Kelly Macdonald in particular doing great work in just a few scenes, and Roger Deakins's cinematography is as good as anything he's done with the Coens, and that's saying a lot) but because of its ambiguity: because the questions it raises about narrative and about society are as interesting as those raised by any other film (but one) of 2007.

But thanks to Dean Cundey's cinematography, it's one of the most elegant - looking horror pictures ever made, with views of the Pacific from the lighthouse home of the KAB radio station (from where Adrienne Barbeau as DJ Stevie Wayne warns the townspeople about the fog) that are so intensely painterly they pop.

When Amy (Mila Kunis) opens the movie with an immediate barrage of exposition - dump narration about the two kids she had young and the challenges she faces as a working mother, the clunkiness feels believable, in its way: She doesn't have time to engage in graceful visual storytelling, especially not with the soft - focus, washed - out cinematography.

Film Comment spoke with Storaro, 76, about his philosophical conception of cinematography and his recent collaboration with Woody Allen, on Café Society (2016).

Typical for modern films of this nature, the action scenes are filled with shaky handheld cinematography and rapid cuts that mean there often isn't a single well - framed shot in the whole sequence (and if there is it lasts about a nanosecond before being replaced by one that isn't).

Mr. Gavin's quietly fascinating premise — combined with some stellar music, production design, and cinematography — provides all you need for an effective thriller about the power / danger of blind faith, but A Dark Song is also backed by a pair of simply fantastic lead performances.

Crossfire Edward Dmytryk, USA, 1947, 35 mm, 86m This adaptation of writer / director - to - be Richard Brooks's novel The Brick Foxhole, about a group of vets, led by Robert Mitchum's Sergeant Keeley, searching postwar Washington for their amnesiac friend (George Cooper) so they can clear him of a murder charge, embodies the essence of what has come to be known as «film noir» — moody, troubled characters; nocturnal action; chiaroscuro cinematography; low - key acting spiced with bits of bravura eccentricity; and a plot so crazy that it feels like a nightmare.

With an enticing, complementary score from the Newton Brothers and Danny Elfman, and gorgeous cinematography by Michael Fimognari that aches to be seen on the big screen, ultimately BEFORE I WAKE awakens heartrending ideas about hope and healing.

Star Wars: The Last Jedi, even with those issues, still blew me away with its story, visuals, action sequences, cinematography, and the risky choices that it makes — it's one of those movies I truly do love the more I think about it.

During the interview, David Gordon Green talks about why he responded to the story, why he didn't want to make a traditional inspirational story, balancing entertainment with the importance of telling a true story faithfully, deleted scenes, Sean Bobbitt's fantastic cinematography, what it was like filming at a Bruins game, and more.

While Hemingway was very vocal about how much he didn't like this adaptation of his book, it walked away with two Oscars (cinematography and sound) and was nominated for two more (picture and art direction).

These two entities are, obviously, not binary opposites, but one could argue that the feeling of a film — brought about with careful attention to cinematography, score and character development (all handled here with unique style and aplomb)-- sits with the viewer long after the credits roll.

His mise en scène is very sober, with deliberate pacing, no music, and muted cinematography in blue and gray hues, with things moving in and out of frame, in and out of focus... In a not so specific way, this made me think of M. Night Shyamalan's visual style; the fact that the film is about how people deal with grief, like many of the «Sixth Sense» director's films, only furthered this impression.

Available on Amazon Kindle, Moonwatcher's Memoir: A Diary of 2001: A Space Odyssey by Dan Richter gives an insider's view of shooting «The Dawn of Man» sequence, with interesting details about costumes, make - up, choreography and cinematography.

From the Prefix Photo press release: «She notes that, since the early 1980s, most critical writing about Wall's work has ignored feminist readings of it, aligning it instead with cinematography, the historic avant - garde and a return to history painting.

This free screening will be followed by a discussion with Steve Wurtzler, associate professor of cinema studies, and Diana Tuite, Katz Curator, about the film's representation of landscape and the influence of wide - screen Technicolor cinematography on the early work of artist Alex Katz.

He's acclaimed for his cinematography and art direction work with musician Jack Johnson, as well as for his beautiful short films, such as «Tranquil Music,» about the summery musical vibe in a pre 9/11 NYC, «The Half Way Tree,» a tale of Jamaican surfing made with Dan Malloy, «Oxfam Make Trade Fair,» documenting Minnie Driver's trip to Cambodia to raise awareness on sweat shop labor.