Doug Nichol started out
his career as a cinematographer on such music documentaries as Truth or Dare (Madonna) and Rattle and Hum (U2) and the director of hundreds of award - winning music videos and commercials.
Gorgeously shot by Thornton, who started
his career as a cinematographer.
Director Lawrence Sher, making his feature debut after
a career as a cinematographer, brings the skills he established shooting movies for Todd Phillips (including the Hangover trilogy, with Helms), which is to say he uses better lighting and more textured visuals than a typically overlit studio comedy while still neglecting to frame, cut, or pace scenes for actual laughs.
Up to this point, Pfister has spent
his career as a cinematographer, most notably for The Dark Knight trilogy and Inception, and hopefully his time spent with blockbuster guru Christopher Nolan has rubbed off in a serious way.
After art directing Ultima Online: Third Dawn, Michael joined Eric at Fever Pitch Studios then moved on to a full - time, freelance
career as a cinematographer.
While Taylor is well known for his work on the film series,
his career as a cinematographer only ran through a handful of other science fiction films before ceasing in 1994.
Not exact matches
Stories beginning «once upon a time» seldom turn
as convoluted
as quickly or irredeemably
as Once Upon A Time In Mexico, writer - director - editor -
cinematographer - composer Robert Rodriguez's final installment in the trilogy that began his
career.
While Florentine and his longtime
cinematographer, Ross W. Clarkson, manage to get a few»90s Hollywood - flavored Steadicam shots in, much of the movie is composed in an anemic, impersonal style that more closely resembles Florentine's past
career as a regular director on various Power Rangers TV shows than the low - budget craft of Ninja (2009) or Undisputed III: Redemption (2010).
Tthe film also marks the second onscreen appearance of a young Tim Roth,
as well
as an early entry in the
career of legendary
cinematographer Roger Deakins.
Nor did she ask Anderson about working
as an uncredited
cinematographer for the first time in his
career.
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).
As an aside, this must be the nadir of
cinematographer Dean Semler's illustrious
career.
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.
The film's bleak pallor is achieved in large part by editor Hank Corwin, who began his
career as an editor for Oliver Stone, and
cinematographer Eduardo Serra.