Sentences with phrase «camera as cinematographer»
First stepping behind the camera as cinematographer for the 1977 drama Homeward in the Night, August took the helm for Honeymoon the following year, to great critical acclaim.
https://www.rottentomatoes.com/ Not exact matches
About Blog The Western India Cinematographers» Association (WICA) today represents the complete spectrum of personnel who work as «Camera Crew» including Camera Assistants, Focus Pullers, Operators of Specialised Camera Mounts, Camera Attendants.
Working with a pricier, higher quality technical team, Nicolas Winding Refn calls in renouned cinematographer Larry Smith to assist him in delivering on nifty, stylish camera plays that often immerse as cleverly used, in spite of limitations to aesthetic value beyond stylish usage, kind of like Brian Eno's and J. Peter Schwalm's score, which isn't all that special by its own right either, but has a certain atmosphere to it that is very effective when used right.
Serving as the primary cinematographer, he employs a run - and - gun style for much of the movie, using a lightweight digital camera that at times lurches so dramatically that you can visualize the body attached to it.
A former cinematographer, Los Angeles - born Ted Tetzlaff entered the movie business as a lab assistant before becoming a camera assistant, and became a cinematographer in 1926.
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.
Allen, production designer Santo Loquasto, and cinematographer Vittorio Storaro (the legendary camera maestro here working, as is Allen, for the first time in the digital format, and knocking it out of the park) have a very particular vision of 1930s Hollywood, despite Allen's well - known and well - worn antipathy toward Los Angeles in general.
(There's no cinematographer credited in the film, as Anderson leads a rotating crew of camera operators.)
With Gaspar Noe's Enter The Void, Michael Rowe's Camera d'Or winner Leap Year, UK indie apocalypse film Monsters, Aussie rom - com The Wedding Party and a four feature tribute to cinematographer Jack Cardiff (including Hitchcock goes Down Under in Under Capricorn), BIFF 2010 has, as Moore so eloquently put it, «snap, crackle, pop, kick, bite and relevance».
Wan, with veteran cinematographer Don Burgess, shows a mastery over the camera as a storytelling tool and creates evocative, bone - chilling suspense with just a simple pan or tilt.
As the camera follows Oldman's portly bulldog Churchill chugging through his claustrophobic War Rooms, Wright's ace cinematographer, Bruno Delbonnel, matches the fluidity and impact of his trench - warfare shots in Jean - Pierre Jeunet's A Very Long Engagement.
With cinematographer Robert Elswit behind the camera and Dylan Tichenor laboring in the editing room, both of whom are Anderson's long - time companions, Magnolia is also distinguished by the effective use of American rock singer Aimee Mann's songs, such as «Wise Up,» the piece that Anderson used as a glue tying the characters together in one particular impressive sequence.
Right off, one should say that Lucien Ballard is one fine cinematographer, even though he didn't get a chance to point his camera at anything very interesting in Breakheart Pass, a suspense ripoff dressed up as a quasi-Western.
Shot in the square academy aspect ratio by cinematographer Alexander Dynan, in long, measured takes captured by a mostly stationary camera, it marks the director's first conscious effort to mimic the hushed, contemplative aesthetic of directors like Robert Bresson, Carl Theodor Dreyer and Yasujiro Ozu, as brilliantly explicated in Schrader's seminal 1972 book, «Transcendental Style in Film.»
Working with cinematographer Matyas Erdely (who also worked on Miss Bala and Son of Saul), the camera constantly gets as close as possible to its characters, lending an immediacy to the proceedings that make it both gut - wrenching and hard to look away.
The film is also Anderson's first feature with no credited cinematographer, as the filmmaker worked with a crew of camera technicians he has collaborated with before in a new way.
It doesn't feel as if Greengrass has staged the events, but that his camera (in the expert hands of cinematographer Ivan Strasburg) happened to be there when the tragedy occurred, a witness to the British officers» planning, to the marchers» anger and panic, to the soldiers» gung - ho macho and to the cover - up that followed.
Problem is, Victor Frankenstein also looks like a glorified TV movie, when it regards the framing choices and camera setups used by McGuigan and cinematographer Fabian Wagner (whose background is primarily in television, as it were).
In Camera Darklight Festival 2012 welcomed celebrated Oscar ® - nominated cinematographer Seamus McGarvey as their special guest.
Cinematographer Dick Pope utilizes some of the prettiest lighting and compositions you'll see this year to amaze our eyes as Leigh's patient camera largely sits idle.
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.
Minihan and cinematographer David Schuurman work in some nifty camera tricks to help mirror Jules» paranoia and disorientation (one particular instance in which the camera is strapped to an oar is particularly effective), as well as long takes tracking Jules» movement around the isolated cabin.
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.
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).
Cinematographer Tom Stern («Mystic River,» «Flags of Our Fathers») was a spectacular choice as he brings a grittier, handheld style to the camera work that grounds it in a way that other options would have ignored.
As a result, in the few moments when Schrader and cinematographer Alexander Dynan do move the camera, the technique has a forceful impact.
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.
The filmmaking here is luscious, Anderson's camera (he is the uncredited cinematographer) panning, tracking, and swooping as it showcases Mark Tildesley's gorgeous production design and Mark Bridges's glorious costumes while Jonny Greenwood's score — featuring harps, piano, and flutes that serve as a constant presence throughout the film — accompanies the action.
This film and Two - Lane Blacktop (a film that was my first assignment as a camera assistant and that was also subject to poor initial reviews) represent two poles of the directorial aesthetic that has informed my own work as cinematographer.
Then, of course, there is the aforementioned exorcism, which director Scott Derrickson and cinematographer Scott Kevan shoot with a jittery camera and layers of strobe lights, as a cacophony of shouted prayers, unnatural screeches, and general rumbling fills the soundtrack.
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.
Denis Villeneuve oversees a production that includes a screenplay penned by Hampton Fancher (Blade Runner), Michael Green (American Gods, Logan), Ridley Scott (Alien, The Martian) as Producer, 13 time Oscar nominee Roger Deakins (Sicario) as Cinematographer, Hans Zimmer (Inception) and Johannson (Arrival) composing and finally Ryan Gosling (La La Land) and Harrison Ford (Star Wars) in front of the camera.
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.»
Chazelle and cinematographer Linus Sandgren shot the film in extra-wide CinemaScope, allowing the camera to pan and twirl as if perpetually curious to discover what delights might lurk just outside the frame.
Todd McCarthy, The Hollywood Reporter: «Favreau and cinematographer Bill Pope vigorously keep the camera moving at all but the quietest moments, and the visual effects team led by Robert Legato and Adam Valdez has both created sumptuous settings that look as lifelike as any CGI ever presented in a studio feature and integrated both humans and animal characters into them in seamless ways.»
I want to focus on one crucial shot, when Luca Guadagnino and cinematographer Sayombhu Mukdeeprom move the camera off of Elio and Oliver as they're about to have sex.
His cinematographer, Stéphane Fontaine, who shot the intentionally banal - looking Elle, gets queasily close to Portman, his camera as invasive as the ones that rendered Jackie's private agony public.
Director Ridley Scott and cinematographer Slavomir Idziak keep the camera far enough away from the action so as to give a sense of the characters» positions and allow us to decipher what's actually happening.
All the while, Collet - Serra and cinematographer Paul Cameron's camera breezes through and between cars, establishing the limited locale and following Michael along his back - and - forth way (It should come as no surprise that some of the passengers begin to suspect him of ill intent, given his behavior and the way he keeps showing up with some new injury).
The magic of their relationship carries over to the film as a whole, making it easy to accept the more unlikely love stories that linger in the background: one between an English teacher (Wong Kar - Wai cinematographer Christopher Doyle, taking a turn in front of the camera) and a prostitute; and Xiaojun's aunt's fond remembrance of a romance with none other than William Holden.
About Blog The Western India Cinematographers» Association (WICA) today represents the complete spectrum of personnel who work as «Camera Crew» including Camera Assistants, Focus Pullers, Operators of Specialised Camera Mounts, Camera Attendants.
Incorporating film, video, and photographic installations Adrià Julià embarks on a new project that focuses on the relationship between the camera and the bodies that operate it, such as in cinematographers.
He has also served as cinematographer for Flex Is Kings, a documentary about Brooklyn street dance that premiered at TriBeca Film Festival in 2013, and as camera - op on BKLYN FLEX, a series combining fantasy and documentary in the lives of Brooklyn Flex dancers.
About Blog The Western India Cinematographers» Association (WICA) today represents the complete spectrum of personnel who work as «Camera Crew» including Camera Assistants, Focus Pullers, Operators of Specialised Camera Mounts, Camera Attendants.
About Blog The Western India Cinematographers» Association (WICA) today represents the complete spectrum of personnel who work as «Camera Crew» including Camera Assistants, Focus Pullers, Operators of Specialised Camera Mounts, Camera Attendants.