Sentences with phrase «as cinematographer from»

IT: Chapter Two Filmmaker Andy Muschietti is making a key change for «IT: Chapter Two,» the filmmaker has enlisted Checco Varese («The 33,» «Replicas») to take over as cinematographer from the first film's Chung - hoon Chung («Oldboy,» «The Handmaiden»).

Not exact matches

As a piece of technical filmmaking, Spielberg has chosen to make Lincoln a straightforward, earnest affair, with minimal nods toward complex aesthetics coming mostly from his trusty cinematographer Janusz Kaminski.

Cribbing copiously from such directors as Hitchcock, Roeg, and Kubrick, cinematographer Daniel Landin («44 Inch Chest») has a field day exploring dark shimmering surfaces in contrasting color schemes.

As cinematographer Anthony Dod Mantle's camera zips and darts through slum alleyways and soars to the heights of Mumbai's thrusting new skyscrapers, the vitality of modern India bursts from the screen.

As the film takes us from star - capped frontier panoramas to squalid urban trailers, Haigh and Danish cinematographer Magnus Joenck focus on Charley in nearly every frame, so that his desperation becomes ours.

Crowe is effectively restrained in his acting, but in his debut as a director, he overdoes the manipulative music and the pretty images from cinematographer Andrew Lesnie.

Its loneliness is, however, appropriate enough, and Cooke and cinematographer Sean Bobbitt contrive a moment in which they look marooned on that beach, as if washed up from some disaster.

This scene could be read as either an arbitrary acknowledgment of Lincoln's documented interest in psychic phenomena or a brief opportunity for Spielberg and cinematographer Janusz Kamiński to reprise their watery fishbowl motif from Minority Report, but it really serves the more interesting, ambitious purpose of establishing Lincoln as a comedy of the narcissism that binds prophecy with political policy.

For the life of me, I somehow can't find the identity of this series» cinematographer, but whomever this person may be, my hat is off to him or her, as his or her efforts, while not breathtaking, is consistently quite tasteful in its plays with coloring and lighting, which has a tendency to sometimes go from tasteful to just plain stunning, thus making the series a strong visual piece, as surely as it is something of a strong musical piece, as Christopher Dedrick must also gain some recognition for his spirited and sometimes upstanding score work.

The other elements of the film come together splendidly as well, from the loving - but - not - trite shots of Manhattan, courtesy of cinematographer Ben Kutchins (the «Veronica Mars» movie), to a first - rate comic ensemble that also includes Jason Mantzoukas, Andrea Savage, Natasha Lyonne, Amanda Peet, and Marc Blucas (plus brief but memorable appearances by Adam Brody, Anna Margaret Hollyman, Billy Eichner and Michael Cyril Creighton).

Since they first collaborated on 2002's Far From Heaven, Ed Lachman has been an integral part of Todd Haynes» core team, serving as cinematographer on films as complex as the director's experimental 2007 Bob Dylan biography I'm Not There or as straightforward as 2015's Patricia Highsmith adaptation Carol.

Each frame, as a result, salutes many of the city's most famous photographers and cinematographers, from gritty noir to iconic fine art.

Wandering the mountainous landscape, gorgeously photographed by veteran cinematographer Dean Cundey (Apollo 13, Who Framed Roger Rabbit, Jurassic Park), the psychically tortured protagonist has a series of run - ins with various figures, including a sympathetic Indian (Adam Beach), a Chinese immigrant (Tzi Ma), an old war buddy (Danny Glover) and, most memorably, a vicious killer named Ezra (Walton Goggins, stealing every scene as usual) who demands a «toll» from Jackson for encroaching on his territory.

Park brought the DP Chung - hoon Chung, his regular cinematographer since Oldboy, but the rest of the talent was provided by the producers, from the stars to ace production designer Thérèse DePrez (wooed by hardcore indies as well as studio executives), including the actor Wentworth Miller, who signs here his first screenplay (and gets a production credit).

From director Jeremy Saulnier (Blue Ruin)-- formerly a cinematographer (Putty Hill, Septien)-- the movie is meticulously shot and acted, as fine a piece of cinematic craftsmanship as there is.

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.

He was also one of the founding members of the prestigious, still active organization the American Society of Cinematographers, and served as its president from 1937 to 1939.

A lot of newly restored films show a marked difference from previous versions but the very nature of the film's photography, which was systematically desaturated by cinematographer Zsigmond with a method called flashing to evoke an earlier time, means that the improvements are not as obvious.

To distinguish the character - defining songs (always of inner turmoil) from the more matter - of - fact and plot - driving singing - as - dialogue, Hooper and cinematographer Danny Cohen shoot the characters» solos in long close - ups (most done in a one - take or with only a short cutaway in the middle or a complete break just at the final word)-- every tiny movement magnified and expanded on the screen.

Photographed by celebrated cinematographer Edward Lachman, who would go on to serve as DP on the likes of «Erin Brockovich» and «The Virgin Suicides,» «Scalpel» is an exemplary slice of Southern - fried gothic, finally rescued from VHS obscurity in this revelatory new Blu - ray edition from Arrow Video.

The folks at Movieline got their hands on a list of the top 50 films of the decade, from a cinematography standpoint, as laid out by voters at American Cinematographer magazine.

A number of other major restorations will have their World Premieres at the Festival: Carol Reed's atmospheric Graham Greene adaptation of OUR MAN IN HAVANA (1959), set in Cuba at the start of the Cold War, makes timely viewing as US / Cuba relations thaw; Ken Russell's reworking of D.H. Lawrence scandalous classic WOMEN IN LOVE (1970) stars Oliver Reed, Alan Bates and Glenda Jackson and shows two couple's contrasting searches for love, and was restored by the BFI National Archive working alongside cinematographer Billy Williams; A MAN FOR ALL SEASONS (1966) is directed by Fred Zinnemann from a script by great British screenwriter, Robert Bolt from Bolt's play about Sir Thomas More, a perfect companion piece to Wolf Hall; Henry Fonda stars in the ripe - for - discovery WARLOCK (1959), a seething study of vengeance and repressed sexuality in a Utah mining outpost; and Bryan Forbes» THE RAGING MOON (1971) starring Malcolm McDowell and Nanette Newman in a tender story between two young people in wheelchairs which was ahead of its time in its attempts to change attitudes to disability.

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.

And his first notable credit as cinematographer came with 2007's short «Pariah,» the second film from Dee Rees (one of our On The Rise ’12 picks).

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.

Phantom Thread is a work of tremendous focus, not only from Day - Lewis but also Paul Thomas Anderson, who writes, directs and shoots the film (albeit uncredited as the cinematographer).

Dickerson also acted as cinematographer on multiple episodes of Tales from the Darkside and Spike Lee's immortal (and beautiful) Do the Right Thing.

From the opening section, which finds Harry fending off an attack by Dementors in a storm sewer near his neighborhood and running afoul of wizard rules prohibiting spell - casting in the presence of Muggles, through the installation of a chillingly polite authoritarian named Dolores Umbridge (Imelda Staunton) as Hogwarts» new Defense Against the Dark Arts teacher and future grand inquisitor, to the near - collapse of the wizard world's governing body, the increasingly ossified and timid Ministry of Magic, Phoenix is steeped in a mix of fear and futility confirmed by the movie's visuals, photographed by cinematographer Slawomir Idziak.

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.

Cinematographer Brett Pawlak captures the light of Southeastern Texas, where kids ride their bikes around quiet suburbs and dirt tracks by day, then gather around street lamps by night, as far from parental supervision as possible.

With «Robin Hood,» generations unfamiliar with the Technicolor look can get a really good sampling of why film historians and cinematographers rave and are overcome with a peculiar nostalgia for the color schemes that literally glow, as evidenced from interviews with cinematographers Jack Cardiff and Vittorio Storaro in the excellent documentary on Disc 2, «Glorious Technicolor,» an overview of the company and key personnel, derived from Fred Basten's 1980 book.

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.

We hear at modest length from Adrian Grenier (4:31), Schaech (5:05), Lydia Hull (4:08), director Miller (3:43), and cinematographer Brandon Cox (9:13), who cites The Place Beyond the Pines as a visual inspiration.

The well - edited commentary track, created from separate recollections by director Tim Burton, actor Martin Landau, screenwriters Scott Alexander and Larry Karaszewski, costume designer Colleen Atwood, and cinematographer Stefan Czapsky (with Landau reprising his Bela voice as your host), is a rich and engrossing tour through the inspiration, conception, and production of the film.

You obviously expect less from a film by Mikael Salomon, the Swedish cinematographer of such Hollywood films as James Cameron's The Abyss, Steven Spielberg's Always, and Ron Howard's Backdraft, whose subsequent directing career has consisted almost entirely of lesser genre television (like A&E's 2008 «The Andromeda Strain» miniseries and Lifetime's Drew Peterson: Untouchable).

Moorhead's camera (he pulls double duty as cinematographer, just as Benson pulls double duty as screenwriter) shoots the Italian countryside beautifully, but sprinkles liberal bird's - eye flyover shots that manage to unsettle, hinting perhaps at something that only makes itself known from afar, otherwise hidden in plain sight.

Right from the start you know you are in good hands as Branagh, with prime help from cinematographer Haris Zambarloukos and production designer Jim Clay, sets up a couple of dazzling continuous tracking shots in which we are introduced to this magnificent train as well as the passengers — all of whom soon will be suspects.

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.

He also replicates a single unbroken shot from the original film's sequence at a soccer stadium; this time, it's set at Dodgers Stadium and impressively shot by cinematographer Daniel Moder (Roberts» husband), as Ray and fellow detective «Bumpy» (Dean Norris) pick out the suspect out of the crowded stands and give him a chase.

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.

After all, the dreamy fable of amphibious amour was made in Toronto and Hamilton with an almost entirely Canadian crew — aside most notably from director Guillermo del Toro and cinematographer Dan Laustsen — and its recent Oscar win for Best Picture is being hailed as a watershed moment for the Canadian film industry.

Strikingly filmed in black and white — cinematographer Robert Crasker won the Oscar for his work — The Third Man contains a great deal of suspense, several moments of dry British humor, and a fun performance from Cotten as the wide - eyed innocent.

The cinematography is amazing as a whole, but that is what you should expect from cinematographer Rachel Morrison.

There has been talk (probably generating from the studio marketing department) that this is an Oscar contender, but it never distinguishes itself as anything more than an effective genre piece, graced by the usual high - standard of work by cinematographer Roger Deakins and with particular appeal to those who enjoyed the above - mentioned (and overpraised) Dennis Lehane adaptations.

Although some of the imagery, beautifully captured by cinematographer Caroline Champetier, derives directly from the paintings of Jean - François Millet and the work of such filmmakers as Marcel Pagnol and Jean Renoir, I never felt as if he was aestheticizing the arduousness of the life put before us.

The film is pieced together from outtakes from the long - time documentary filmmaker / cinematographer's extensive body of work, but beyond occasionally hearing her voice behind the camera (and one shot towards the end in which we finally see her face as she points the camera toward herself), Johnson forgoes the safety net of voiceover narration to tie all this footage together.

Pity a historian wasn't contacted for a rundown of the film's genesis; Carol Reed's walking off the picture after losing patience with Brando's ego, and Lewis Milestone taking the directorial reigns as a hired gun; nor a separate featurette on the film's cinematographer and composer; but what has been assembled is a good smattering of contemporary and archival productions about the impressive Bounty replica built from the ground up for a major studio production.

Morrison, who started as a camera operator in 2001 and has since been the cinematographer on such films as Cake and Dope and the DP on Fruitvale Station, was also the first woman to get Best Cinematographeer from the New York Film Critics Circle Award.

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.»

Cinematographer Danny Cohen (whose frequent Hooper collaboration has a penchant for pushing actors to the edge of the frame that isn't as pronounced here) and production designer Eve Stewart are constantly at odds, filling the frame with too much clutter that only distances us from Lili and Gerda's turmoil.