Sentences with word «cinematographer»

Always ambitious, the director knew going into the project that he also would take on the role of cinematographer.

Not everyone is a movie director or cinematographer who can figure out good lighting to highlight someone's most attractive features.

Honestly, for my first film, I was looking for the best cinematographer I could find.

And check out this great cinematographer - director relationship.

I knew by the opening shots and the distinct care put into capturing the weather, nature, and atmosphere that a master cinematographer was behind the camera.

He usually serves as his own cinematographer; he likes to experiment with form and style.

Still, the set design and cinematographer make this film impossible to dismiss.

First, his father created sets for films, and then became cinematographer and director.

Skilled cinematographer with nine years of experience in television and motion picture production.

The director and cinematographer offer an audio commentary on the film and some deleted scenes.

It wasn't a specific cinematographer that drew your attention.

He was born into the business, in a sense — his father a photographer and sometime cinematographer, his mother a silent film actor.

This extraordinary cinematographer had been nominated 13 times before and had never won, always losing to something that was deemed just a tad more cinematic.

The work of cinematographer Roger Deakins and production designer Dennis Gassner give the picture an expansive feel, with vast sets full of obscuring shadows, and, in the case of Wallace's aerie, copper - hued shimmering surfaces.

Drawing on his training in the fine arts, as well as his background working as cinematographer for renowned neorealist filmmakers like Roberto Rossellini and Vittorio De Sica, Bava developed his own inimitable style.

Janusz Kaminski, two - time Oscar winning cinematographer for Schinder's List and Saving Private Ryan brings some of the most striking images of the year and adds a much needed element of emotion.

The film is beautifully shot by cinematographer Roger Deakins.

«Django Unchained» Unpacked In New Screenwriting Featurette & Interview With Cinematographer Robert Richardson

The great Roger Deakins will be honored at the 2011 American Society of Cinematographers on February 13.

Supervised by cinematographer Robert Elswit, the transfer helps to highlight the Nevada desert as an integral piece of the entire film given how many scenes take place against the sprawling landscape.

Cuaron did not go into science but instead studied Philosophy at the National Autonomous University of Mexico (UNAM) and filmmaking at CUEC (Centro Universitario de Estudios Cinematográficos) where he began his rich collaboration with cinematographer Emmanuel Lubezki.

It's not usually chatter afforded to wallet - busting action wheezes, but thanks to Oscar - winning cinematographer John Seale, this film has the makings of a winner.

Enlisting such gifted collaborators as cinematographer Rachel Morrison, costume designer Michael T. Boyd and production designer David J. Bomba, Rees creates an environment rich with texture and metaphor, as the refined Laura seeks to civilize her forbidding environs with an out - of - place piano and tatty signifiers of «good taste,» and Florence, long having made a kind of peace with her reality, makes a warm, welcoming home from pieces of rough wood and a few scraps of newspaper.

I want to mention the work of cinematographer John Toll (Braveheart) for bringing the battle scenes to life.

One could be forgiven for finding this early stretch a little like a Kevin Costner movie: apart from cinematographer Janusz Kaminski's blooming windows, it doesn't quite feel like a Spielberg film until a burning American spy plane plunges past its parachuting pilot, Francis Gary Powers (Austin Stowell).

Strong among them are Spielberg, Day - Lewis, possibly Fields, but most assuredly for cinematographer Janusz Kaminski (Amistad, Saving Private Ryan), who has shot many of Spielberg's films.

April Dawn gives Warner Bros. and DC Entertainment a half - dozen female directors who should realistically be given the chance to direct Batgirl, including Mudbound «s Rachel Morrison, the first Oscar - nominated female cinematographer in history.

Michelle Pfeiffer gives one of her most finely chiseled performances as a divorced, unemployed New Yorker who descends into despair and petty criminality in Andrew Dosunmu's bleakly compelling psychological portrait, beautifully shot by cinematographer Bradford Young.

Leading the accomplished behind - the - scenes crew is 10 - time Oscar ® - nominated cinematographer Roger Deakins (Skyfall).

Saura, working with veteran cinematographer Vittorio Storaro, rebuffs context by charging the performers» intensity to an uninterrupted state of vibrant cultural expression.

Relying once again on legendary cinematographer Roger Deakins (who lensed Villeneuve's first mainstream effort Prisoners), Villeneuve keeps things in Kate's perspective, taking advantage of the southern border's vast landscapes to clash with the chaotic unknowns Kate finds herself thrust into repeatedly.

The gorgeous photography of the period - specific decor is by acclaimed cinematographer Ed Lachman.

Neither shot with Hartley's regular cinematographer Michael Spiller, the films are fatally flawed by scattered visuals, particularly The Book of Life, which embraces the headache - inducing distortions of low - grade digital video a little too whole heartedly.

This newly created program features remarks from cinematographer Vittorio Storaro, editor Gabriella Cristiana, costume designer James Acheson and art director Gianni Silvestri.

Effectively shot by McQueen's longtime cinematographer Sean Bobbitt on several real Louisiana plantations, «12 Years» explores a number of odd corners of the slavery situation, like the slave Mistress Shaw (Alfre Woodard) who is married to the plantation owner and serves an elaborate tea on Sunday mornings.

«The Immigrant» is about many things, chief among them the promise of a better life in America, and that optimism of the era is beautifully captured in cinematographer Darius Khondji's golden - hued visuals.

Fast Company: You worked with female cinematographers on both Creed and your debut, Fruitvale Station.

Certainly, Malick would have been proud to conjure the rhapsodic visuals on display here, as cinematographer Christopher Blauvelt, often shooting in dusky half - light or lantern - lit darkness, scrutinizes the Oregon landscape with a keen eye worthy of the painter Andrew Wyeth; the dust - smeared pastel palette is gloriously counter-intuitive, as is Reichardt's unusual decision to shoot these seemingly infinite vistas in the Academy ratio, making sky as looming a threat as earth.

Rees commands a team of top craftspeople including a remarkable roster of female department heads — including cinematographer Rachel Morrison, editor Mako Kamitsuna, composer Tamar - kali, Oscar ® nominee sound engineer Pud Cusack and makeup department head Angie Wells — to bring the past into the present and shine a light on a chapter of American history rarely seen on screen before.

Director Chad Stahelski (half of the original's directing team) again keeps much of the action in a steady frame, though there is a good deal more editing of cinematographer Dan Laustsen's beautifully composed shots by Evan Schiff.

He often collaborates with his wife, producer Emma Thomas, and his brother, screenwriter Jonathan Nolan, as well as cinematographer Wally Pfister, film editor Lee Smith, composers David Julyan and Hans Zimmer, special effects coordinator Chris Corbould, and actors Christian Bale and Michael Caine.

Inarritu utilizes Cuaron's regular cinematographer Emmanuel Lubezki, who rightly won on Oscar for Gravity.

The following is an interview from American Cinematographer Magazine © 1999 ASC, written by Stephen Pizzello, «John Toll, ASC details his experiences on The Thin Red Line, an existential combat film that marks the long - awaited return of director Terrence Malick.»

Aside from its talented cast, a team of seasoned artists collaborated on the movie, including two - time Academy Award nominee cinematographer Dick Pope (for Mr. Turner and The Illusionist), Academy Award nominee costume designer Rita Ryack (Casino, Apollo 13) and Academy Award winning production designer Luciana Arrighi (Howard's End).

Working with his longtime cinematographer Ed Lachman and shooting on the Super-16 film he favors for its echoes of the movie history of 20th - century America, Haynes charts subtle shifts of power and desire in images that are alternately luminous and oppressive.

He's aided to that end by both veteran cinematographer Peter Suschitzky («The Empire Strikes Back,» «Mars Attacks»), whose complex color scheme fleshes out the storybook feel, as well as yet another awe - inspiring Alexandre Desplat score.

Emmanuel Lubezki won the 29th American Society of Cinematographers Award for outstanding achievement for «Birdman» Sunday evening at the Hyatt Regency Century Plaza.

Oscar - winning cinematographer Anthony Dod Mantle (Slumdog Millionaire) brings some pictorial flair to all the various locations where the story is set.