Sentences with phrase «as cinematographer john»

We now have a crew update on the project as cinematographer John Schwartzman (The...

Not exact matches

Spielberg's sure hand and usual collaborators — musician John Williams, cinematographer Janusz Kamiński, and editor Michael Kahn (Sarah Broshar is also credited as an editor — make the movie impeccable.

Add Spielberg's other secret weapons — John Williams as composer, Janusz Kaminski as cinematographer, and Ann Roth as costume designer — and you've got a sure - fire Oscar contender and cultural conversation - starter.

Then, there is presidential candidate Senator John Edwards, who installed his Sugar Baby and mother of his love child, Rielle Hunter, as his campaign cinematographer?

Giovanni Ribisi, John Leguizamo, Juno Temple, Elisabeth Moss, and many other familiar faces pop up in this painful, vivid drama, which Morano shot herself, pulling double duty as director and cinematographer.

Adapted from a 1993 novel by Irvine Welsh, who has a cameo in the movie as a drug dealer, Trainspotting was created by the same team that turned out the much less interesting Shallow Grave: producer Andrew Macdonald, director Danny Boyle, writer John Hodge, lead actor Ewan McGregor, and the same cinematographer, production designer, and editor.

Winner: Emmanuel Lubezki, «The Revenant» Should win: John Seale, «Mad Max: Fury Road» Upset player: John Seale, «Mad Max: Fury Road» (and that's a stretch) Nightmare win: None Lowdown: Lubezki will make history as the first Cinematographer to win this category three years in a row.

Filmed in Ireland by cinematographer Vilmos Zsigmond with an atmospheric score by John Williams, the film is artfully made, yet features a few thriller - style shock moments to emphasize Cathryn's descent into madness as she begins to have distorted visions of former lover Rene (Marcel Bozzuffi), who was killed years earlier in a plane crash.

As photographed by John Bailey — at the time, the go - to cinematographer for Paul Schrader (American Gigolo, Cat People, Mishima: A Life In Four Chapters, Light Of Day)-- the city's streets, restaurants, back rooms, and lofts are as much a character as Charlie and Paulie, a dreamer and a schemer trying to get ahead in a world where the chips are stacked against theAs photographed by John Bailey — at the time, the go - to cinematographer for Paul Schrader (American Gigolo, Cat People, Mishima: A Life In Four Chapters, Light Of Day)-- the city's streets, restaurants, back rooms, and lofts are as much a character as Charlie and Paulie, a dreamer and a schemer trying to get ahead in a world where the chips are stacked against theas much a character as Charlie and Paulie, a dreamer and a schemer trying to get ahead in a world where the chips are stacked against theas Charlie and Paulie, a dreamer and a schemer trying to get ahead in a world where the chips are stacked against them.

Hopkins gets one or two scenes where he's actually enjoying himself and not just mentally calculating whether this paycheck can get him a walk - in humidor to go with the new wine cellar, and poor Haddock, as the female lead, is stuck contending with being a multi-degreed academic who nonetheless has an affinity for oxygen - depleting skirts and push - up bras, all captured in full effect by cinematographer Jonathan Sela («John Wick»).

This sequel to the surprise hit adaptation of a popular video game, Mortal Kombat, sees John R. Leonetti (The Butterfly Effect 2), cinematographer for the first film, take over the reigns from Paul W.S. Anderson as director, mostly to disappointing results.

The Russos, with assistance from people such as Winter Soldier cinematographer Trent Opaloch as well as second unit directors David Leitch and Chad Stahelski (the longtime stunt coordinators - turned directors of John Wick), serve up several precisely - choreographed action sequences, varying from quick - cutting fisticuffs to exhilarating foot chases and combat situations that make great use of individual superhero's unique abilities.

plotting to be any fun as camp, and too ponderous to be watchable as a purely bad movie, Diablo doesn't offer much beyond a reminder of other, better films and some choice Alberta scenery framed by a cinematographer who shot John Carpenter and Robert Zemeckis» best work, but is now doing this.

This has nothing to do with Crudo's discipline — fellow cinematographer John Bailey came prepared as a historian and film buff and delivered a super commentary track for Sunrise — but Fox erred in not trimming Crudo's sterile comments down to its essentials, and inter-cutting info from other, if not more broad - minded film historians.

Actress and filmmaker Ashley Bell is our avatar onscreen, and (with producer - writer - editor - cinematographer John Michael McCarthy III and director of photography - executive producer Roddy Tabatabai) she manages to make us feel as if we're experiencing a great adventure alongside her in real time.

Stars: Felicity Jones, Diego Luna, Ben Mendelsohn, Riz Ahmed, Donnie Yen, Mads Mikkelsen, Alan Tudyk, Jiang Wen, Forest Whitaker, Jonathan Aris, Genevieve O'Reilly, Jimmy Smits, Alistar Petrie and James Earl Jones as the voice of Darth Vader Director: Gareth Edwards Scriptwriters: Chris Weitz and Tony Gilroy from a story by John Knoll and Gary Whitta, based on characters by George Lucas Composer: Michael Giacchino Cinematographer: Greig Fraser Lucasfilm, Ltd / Walt Disney Studio Rating: PG 13 for battle scenes Running Length: 140 minutes It can be done.

Cinematographer John Seale, Oscar - nominated here and more recently for Mad Max: Fury Road, uses lighting to paint sin as lurid (the red of a car light, the brown grime of the city) and goodness as pure (the uncomplicated raising of a barn).

Tom Hanks leads a cast that also includes Mark Rylance, Amy Ryan, and Alan Alda, while Spielberg's usual cinematographer, Janusz Kaminski, is behind the camera, and Thomas Newman fills in for an ailing John Williams as the soundtrack's composer.

Kay's curve of elegance goes the opposite direction as Ward's — he starts out in fancy clothes and becomes more raggedy as the film progresses — and cinematographer John Bailey objectifies Gere in ways Marshall's camera wouldn't dare do to Roberts (just try to find another Hollywood movie so in horny lust for its male actor's physicality).

Charlize Theron, meanwhile, presented Allen Daviau — an Oscar nominee for films like E.T., The Color Purple, The Empire of the Sun and Bugsy — with the Lifetime Achievement Award, while the ASC John Alonzo Heritage Award — named in honor of the cinematographer of such classics as Harold and Maude, Norma Rae and Scarface — was presented to a pair of student filmmakers, Brian Melton from the North Carolina School of the Arts and Lyle Vincent from the NYU Tisch School of the Arts.

The picture and sound are simply amazing, as is expected, fully showcasing the work of Oscar - winning director Kevin Costner, cinematographer Dean Semler and Composer John Barry.

With its linear, mission - centric plot and collection of archetypal characters, «Hostiles,» which Cooper adapted from an unproduced manuscript by the late screenwriter Donald E. Stewart («Missing»), bears more than passing resemblance to such towering John Ford classics as «Stagecoach» and «The Searchers,» an affinity underlined by the sweeping landscape and kinetic action captured with keen sensitivity by cinematographer Masanobu Takayanagi.

As well, you can have a film school experience by listening to the commentary of director Peter Weir and his writing / cinematography team, or watching Master of Sound: Alan Splet (featuring new interviews with David Lynch and Peter Weir) and Cinematography Master Class (cinematographer John Seale conducts an intensive and inspirational lighting workshop).

Unfortunately, even with James Wan involved as a producer, and his longtime cinematographer, John R. Leonetti, stepping in behind the camera, «Annabelle» is a boring mess plagued by bad acting and an unoriginal script that blatantly steals from better films like «Rosemary's Baby» and «The Omen.»

Upcoming film series will highlight Figueroa's work with Spanish surrealist Luis Buñuel, the Hollywood films that the cinematographer shot over his 50 - year career for directors such as John Huston and John Ford, the films of the early 1930s that spurred Figueroa, and contemporary Mexican filmmakers whose work invokes Figueroa's legacy.

As company begins to arrive, The Anniversary Party, shot over nineteen days on digital video by noted cinematographer John Bailey, takes on a natural ebb - and - flow stemming from the custom - written (and largely - improvised) roles and the simple fact that the cast is composed mostly of close friends of Cumming and Leigh.

Director John Curran and cinematographer Mandy Walker provide the requisite panoramas of the starkly beautiful Outback and, as the hike progresses, a legitimate sense of the perils of nature.

EXTRAS: The Blu - ray release includes an audio commentary by director Drake Doremus, cinematographer John Guleserian and editor Jonathan Alberts, as well as some production featurettes.

Director Peter Weir, Cinematographer John Seale, and Writer Tom Schulman together provide an audio commentary track (and I use «together» loosely, as there's not really a conversational tone to it, which may have helped spice things up).

Serving as writer, director, cinematographer, editor, and actor, he performs (often in drag) a series of memorable, defiant characters; he has been described as the heir to artists and performers as diverse as Cindy Sherman, RuPaul and John Waters.

He studied under the conceptual artist John Stezaker, and later worked as an assistant to Derek Jarman, credited as editor on The Angelic Conversation and cinematographer on The Last of England.

As a cinematographer, he has worked with featured - film directors, John Akomfrah, Julie Dash, Andrew Dosunmu, Haile Gerima, and Spike Lee.