Sentences with phrase «by cinematographer»

About Blog A Cinematography blog by cinematographer Matt Porwoll.

About Blog A Cinematography blog by cinematographer Matt Porwoll.

The largely hand - held camera work by cinematographer Christopher Doyle also adds to the gritty atmosphere.

Kiss is shot in 2.35:1 CinemaScope, all the better to showcase the vibrant, near - Technicolor hues created by production designer Franco - Giacamo Carbone and captured by cinematographer Mark Mervis.

Beautifully shot by cinematographer G.W. «Billy» Bitzer, the story unfolds as the title character must tend to two terminal patients at once, with tragic results.

OK, one more comparison to Woody: it's a beautiful looking film that captures New York at its most alluring, shot with a sumptuous eye by cinematographer Manuel Alberto Claro (Nymphomaniac Vol.

Cumberbatch is perfect — emotive and credible, eyes illuminated at key moments by cinematographer Oscar Faura (The Impossible).

Any slowly - paced film runs the risk of losing its audience's attention, but Midnight does not, thanks to an engrossing plot hook and the polished work by cinematographer Jack N. Green, production designer Henry Bumstead, and the acting ensemble, which is strong across the board.

Certainly, the film features some of the most breathtaking widescreen images of the desert ever photographed (by cinematographer Freddie Young); Maurice Jarre's famous score is appropriately grandiose; and the pushing - four - hours run time more than satisfies any notions of «epic» length.

The passable (a remaining reel change mark or two aside) non-anamorphic transfer was supervised, as with Withnail, by cinematographer Peter Hannan; and the film's original stereo track is presented with no added enhancement.

Each of these elements is beautifully captured by cinematographer Giles Nuttgens (Dom Hemingway), as are the actual bank robberies and the quiet moments between brothers and Rangers partners.

Commitment can take on so many forms, conventional and unconventional alike, and with wonderfully measured performances from Sidse Babett Knudsen and Chiara D'Anna and a beautiful look provided by cinematographer Nic Knowland and production designer Pater Sparrow, The Duke of Burgundy is a truly unique film in a year defined by them.

Gloriously filmed in 16 mm by cinematographer Sean Price Williams and set to a bare, haunting score by Keegan DeWitt, Queen of Earth channels the psychological dramas of the»60s and»70s, right down to spot - on title cards in soft pink cursive that mark each day that passes in the week - long story.

It also excels at presenting sunnier scenery, some of which is surprisingly well - shot by cinematographer Edward J. Pei, who, like director Michael Katleman, makes one of his first big screen leaps from a television - based background.

In its first two hours — both of them directed by Juan Antonio Bayona (well - known among genre buffs for his 2007 Spanish - language feature The Orphanage), edited by Bernat Vilaplana (Pan's Labyrinth, Hellboy II: The Golden Army) and featuring elegant, intricate lighting by cinematographer Xavi Giménez (2012's Red Lights, Los Sin Nombre)-- «Penny Dreadful» is a show that just goes for broke.

Father Figures is directed by cinematographer - turned - director Lawrence Sher, making his feature directorial debut.

Thus, Creed feels like an independently - made studio film, shot by cinematographer Maryse Alberti in an appropriately gritty manner.

He is complemented here, brilliantly, by cinematographer Roger Deakins in his third collaboration with the director.

Commitment can take on so many forms, conventional and unconventional alike, and with wonderfully measured performances from Sidse Babett Knudsen and Chiara D'Anna and a beautiful look provided by cinematographer Nic Knowland and production designer Pater Sparrow,

The best company in the field delivers again with a technically outstanding DVD that really show off the rich colors brought to life by cinematographer Frederick Elmes, and a relatively modest group of extras that are nevertheless first - rate.

The photography is beautiful, with the normally dull desert landscapes brought to life by cinematographer Terry Stacey («American Splendor»).

The neighborhood of God's Pocket is well - crafted by Slattery and his crew, and well shot by cinematographer Lance Acord.

It helps that the technology used to photograph the shots in Gravity were actually invented by cinematographer Emmanuel Lubezki, director Alfonso Cuaron, and their team, but even without that piece of trivia it's obvious that Lubezki's work is simply extraordinary.

Luxuriantly - lit, brashly - saturated, and comic - panel framed with a virtuoso grace by cinematographer Amy Vincent (Death in Venice, CA), all while inhabiting Robin Standefer's (Practical Magic) mesmerizing sets, The Caveman's Valentine is an unremittingly gorgeous film.

As the men are first dropped off by helicopter and then cross treacherous mountain terrain (beautifully photographed by cinematographer Tobias Schliessler), we're with them every step of the way, marveling at their professionalism and sense of duty.

The grey hues employed by cinematographer, Danny Cohen bring out the subtle nuances of the proceedings, something that was probably the intention for the script, even if it doesn't necessarily pan out this way.

New, restored high - definition digital transfer, supervised and approved by cinematographer Raoul Coutard

Reflecting this notion is the beautiful, largely static camerawork by cinematographer Roger Deakins (superb work again after True Grit), who frames the interiors of this rather muted and drab setting in a way that it makes the characters appear like prisoners of their own personal values and motives.

New, restored high - definition digital transfer, supervised by cinematographer Giuseppe Rotunno

• HD transfer supervised and approved by cinematographer Dean Cundey • NEW Audio Commentary With Director Of Photography Dean Cundey, Editor Tommy Lee Wallace And The Shape, Nick Castle • Audio Commentary with Co - Writer / Director John Carpenter and Actress Jamie Lee Curtis.

Special Features New, restored 4K digital transfer, supervised by cinematographer Caleb Deschanel, with uncompressed monaural soundtrack on the Blu - ray New documentary on the making of the film, featuring interviews with members of the production team Excerpts from a 1980 American Film Institute seminar with director Hal Ashby Author Jerzy Kosinski in a 1979 appearance on «The Dick Cavett Show» Appearances from 1980 by actor Peter Sellers on NBC's «Today» and on «The Don Lane Show» Promo reel featuring Sellers and Ashby Trailer and TV spots Deleted scene, outtakes, and alternate ending PLUS: An essay by critic Mark Harris

Indeed, Patriots Day finds Berg working in his preferred aesthetic mode of handheld commotion — in which the twitchy camera itself often seems to be in search of the focal point of any given scene (an approach enabled here by cinematographer Tobias A. Schliessler, a frequent Berg collaborator).

Special Features New 4K digital restoration, supervised by cinematographer Ed Lachman and approved by director Sofia Coppola, with 5.1 surround DTS - HD Master Audio soundtrack New interviews with Coppola, Lachman, actors Kirsten Dunst and Josh Hartnett, author Jeffrey Eugenides, and writer Tavi Gevinson Making of «The Virgin Suicides,» a 1998 documentary directed by Eleanor Coppola and featuring Sofia Coppola; Eleanor and Francis Ford Coppola; actors Dunst, Hartnett, Scott Glenn, Kathleen Turner, and James Woods; Eugenides; and more Lick the Star, a 1998 short film by Coppola Music video for Air's soundtrack song «Playground Love,» directed by Coppola and her brother Roman Coppola Trailers PLUS: An essay by novelist Megan Abbott

Like so many action thrillers in this day and age, this one is mostly shot with a hand - held style by cinematographer Barry Ackroyd (who won an Oscar for 2008's «The Hurt Locker») but never incoherently.

Candlelit dinners, shot for maximum shadowy atmosphere by cinematographer Philippe Le Sourd, are invariably a source of knowing hilarity.

It's an exciting moment in a film that needs more of them, a film that otherwise only feels like a Tim Burton film due to its pastel - heavy color palette (which is admittedly gorgeously shot by cinematographer Bruno Delbonnel, working with Burton for the second time).

Gilroy, vastly supported by cinematographer and Los Angeles specialist Robert Elswit (Boogie Nights, Magnolia), directs with the verve of a seasoned pro, even though Nightcrawler is his debut.

New, restored high - definition digital transfer, supervised by cinematographer Ricardo Aronovich

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 extras are the same from previous editions, including a terrific commentary by cinematographer Roger Deakins.

The look of the film, as shot by cinematographer Ben Seresin, is dismal and gloomy, which indicates that Hughes was aiming for a noir - ish tone, a character study bathed in grey.

Bruno Ganz and Otto Sander play angels patrolling the streets of West Berlin, beautifully lensed in black and white by cinematographer Henri Alekan, on the cusp of the Wall's collapse.

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.

Danish director Thomas Vinterberg's genteel adaptation of Thomas Hardy's classic 19th century novel is beautiful to look at — filmed in bucolic Dorset, Somerset and Oxfordshire by cinematographer Charlotte Bruus Christensen.

Still, for all its technical accomplishment and cultural specificity — including some natural scenic beauty, wonderfully captured by cinematographer and sole camera operator Hallvard Bræin — Trollhunter never really clicks on all cylinders.

Even with two - time Academy Award - winner Christoph Waltz as the central baddie, even with an opening sequence set during the Day of the Dead featuring an absolutely flabbergasting tracking shot helmed by cinematographer Hoyte Van Hoytema (The Fighter), it's astonishing how little of interest actually takes place.

It's not only superbly acted but visually powerful, as photographed by cinematographer Sven Nykvist.

Djbril (Sy Alassane), an aspiring singer and Canal Street peddler, may move through a gray - market immigrant world of pirated CDs and sketchy back rooms, but everyone and everywhere looks fashion - spread terrific, thanks to the serenely muted colors and elegant, wide - screen compositions by the cinematographer Bradford Young.

The color timing was widely decried by film purists and also (whoops) by cinematographer Owen Roizman, who shot the picture in the first place.

It gets a superb new high - definition transfer, supervised by cinematographer Dean Cundey, and a new commentary track with Carpenter and star Jamie Lee Curtis, reuniting for the first time in years («Jamie and I haven't seen each other in a long time,» remarks Carpenter during the credits) to compare memories and swap stories.