Sentences with phrase «cinematographer john»

Cinematographer John Marton films artist Eddie Martinez painting on the floor of his studio (Greenpoint, Brooklyn).

«The Eleven O'Clock» (directed by Derin Seale, son of cinematographer John Seale) is hilarious and could be win the Oscar.

Locations figure heavily, given a lot of scenes were shot at a forest retreat, and Dante describes the editing and lighting tricks ace cinematographer John Hora used to create seamless transitions between location and interior sets for the film's tight $ 1.4 million budget.

New to the disc is an archival interview with Tourneur from 1979 and a new interview with cinematographer John Bailey, who shot the Paul Schrader remake and studied the film in preparation.

Director Peter Weir, Cinematographer John Seale, and Writer Tom Schulman together provide an audio commentary track (and I use «together» loosely, as there's not really a conversational tone to it, which may have helped spice things up).

EXTRAS: The Blu - ray release includes an audio commentary by director Drake Doremus, cinematographer John Guleserian and editor Jonathan Alberts, as well as some production featurettes.

As company begins to arrive, The Anniversary Party, shot over nineteen days on digital video by noted cinematographer John Bailey, takes on a natural ebb - and - flow stemming from the custom - written (and largely - improvised) roles and the simple fact that the cast is composed mostly of close friends of Cumming and Leigh.

The Conjuring cinematographer John R. Leonetti is directing.

Annabelle Wallis, Ward Horton, Alfre Woodard and Eric Ladin star in Annabelle, with The Conjuring cinematographer John R. Leonetti directing from a script by Gary Dauberman.

It's so refreshing to get an action film that is shot beautifully (by ace cinematographer John Seale) and choreographed with immense detail.

The winner of two Oscars — for Legends of the Fall and Braveheart — and the recipient of the 2016 Lifetime Achievement Award from the American Society of Cinematographers, cinematographer John Toll added Ang Lee to his long list of distinguished collaborators with Billy Lynn's Halftime Walk.

New, restored 4K digital transfer of the director's cut, supervised and approved by director Paul Schrader and cinematographer John Bailey, with 2.0 surround DTS - HD Master Audio soundtrack on the Blu - ray

As well, you can have a film school experience by listening to the commentary of director Peter Weir and his writing / cinematography team, or watching Master of Sound: Alan Splet (featuring new interviews with David Lynch and Peter Weir) and Cinematography Master Class (cinematographer John Seale conducts an intensive and inspirational lighting workshop).

Don't miss: Extras include an interview with cinematographer John Bailey about Conrad Hall, the movie's cinematographer, an interview with film historian Bobbie O'Steen about the film's editing, an interview with film critic and jazz historian Gary Giddens about Quincy Jones» score for the movie, a 1988 French TV interview with Brooks, a short 1966 documentary about Capote, interviews with Capote from 1966 and 1967, an interview with writer Douglas K. Daniel about Brooks and an essay about the movie.

- Cinematography Master Class (Intensive and inspirational lighting workshop with Cinematographer John Seale)

The picture was shot by the Oscar - winning cinematographer John Seale (The English Patient), who came out of retirement for the project, and his eye for quality shows.

(Cinematographer John Toll's prior credits include Braveheart, The Thin Red Line, and The Last Samurai.)

Audio Commentary with Director Drake Doremus, Cinematographer John Guleserian and Editor Jonathan Alberts — Informative, if exceedingly clinical, commentary track, with Doremus unsurprisingly doing the majority of the speaking.

Cinematographer John Bailey.

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).

Not only are women at the heart of the story, but Miller, Sixel and cinematographer John Seale frame them in a way to show the audience how women's bodies are negatively portrayed; these women have agency and bodies of their own, and we root for them to succeed in their escape.

Special Features New 4K digital restoration New interview with cinematographer John Bailey about director of photography Conrad Hall's work in the film New interview with film historian Bobbi O'Steen on the film's editing New interview with film critic and jazz historian Gary Giddins about Quincy Jones's music for the film New interview with writer Douglass K. Daniel on director Richard Brooks Interview with Brooks from a 1998 episode of the French television series «Cinema Cinemas» «With Love From Truman,» a short 1966 documentary featuring novelist Truman Capote, directed by Albert and David Maysles Two archival NBC interviews with Capote: one following the author on a 1966 visit to Holcomb, Kansas, and the other conducted by Barbara Walters in 1967 Trailer Plus: An essay by critic Chris Fujiwara

When Australian cinematographer John Seale got word of the Sisyphean development of Mad Max: Fury Road in its early stages, he was just glad that it wasn't his cross to bear, not realizing that he would soon find himself working on one of the most infamously challenging productions in recent film history.

Cinematographer John Seale, Oscar - nominated here and more recently for Mad Max: Fury Road, uses lighting to paint sin as lurid (the red of a car light, the brown grime of the city) and goodness as pure (the uncomplicated raising of a barn).

Actress and filmmaker Ashley Bell is our avatar onscreen, and (with producer - writer - editor - cinematographer John Michael McCarthy III and director of photography - executive producer Roddy Tabatabai) she manages to make us feel as if we're experiencing a great adventure alongside her in real time.

4K UHD Introduction by Ridley Scott (Extended Edition) Commentary by director Ridley Scott and actor Russell Crowe (Extended Edition) Commentary by director Ridley Scott, editor Pietro Scalia and cinematographer John Mathieson (Theatrical Edition) Blu - ray

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.

We now have a crew update on the project as cinematographer John Schwartzman (The...

For more about Zsigmond's work on The Rose, read the following reflection posted by cinematographer John Bailey to his blog, John's Bailiwick, in conjunction with our release of the film last May.

Commendable then is the Chinese musical wish box at the center of veteran genre cinematographer John R. Leonetti's latest film where, after each of the lead's wish is realized, a swath of our tolerance is immolated.

4K UHD — Introduction by Ridley Scott (Extended Edition)-- Commentary by director Ridley Scott and actor Russell Crowe (Extended Edition)-- Commentary by director Ridley Scott, editor Pietro Scalia and cinematographer John Mathieson (Theatrical Edition)

Accompanied by his Academy Award - winning cinematographer John Toll (Legends of the Fall, Braveheart, The Last Samurai, Gone Baby Gone), whom he hired at the beginning of 1997, Malick started principal photography in June the very same year.

The great cinematographer John Alton gives a slick noir style to the location shooting, anticipating Jules Dassin's The Naked City, perhaps the best example of this sub-genre, made the next year.

Conjuring cinematographer John R. Leonetti gets promoted to director, earning his third theatrical credit in that role.

Director Morten Tyldum (a Norwegian TV commercial whiz), cinematographer John Andreas Andersen and editor Vidar Flataukan all succeed at times in knocking our socks off or at least getting them pulled pretty far off our toes.

It is exquisitely detailed (kudos to cinematographer John Mathieson) and filmed in the grandest of scales.

New, restored 2K digital transfer, supervised by director Whit Stillman and cinematographer John Thomas, with 2.0 surround DTS - HD Master Audio soundtrack on the Blu - ray

- Commentary by director Drake Doremus, editor Jonathan Alberts, and cinematographer John Guleserian.

Cinematographer John Seale (The English Patient, Cold Mountain) and production designer Colin Gibson have created such visually jaw - dropping imagery that further deepens the rich look of the film and enhances that overall feeling of living and breathing in this desert.

Written by Earl W. Wallace and William Kelley, with Weir's uncredited work on the script, shot by the Australian cinematographer John Seale, who would later win an Oscar for his work on The English Patient, with the French composer Maurice Jarre's (Doctor Zhivago, The Train, A Passage to India) score and Thom Noble's (Red Dawn, Thelma & Louise) editing, and with the strong supporting roles of Danny Glover, Josef Sommer, Alexander Godunov and Lukas Haas, Witness is a pleasure to go back to even thirty - two years after its release.

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

In this 1975 adaptation of Chandler's second novel, there is something unhealthy lurking just beyond cinematographer John A. Alonzo's neon - soaked shadows (a far cry from his exquisite Chinatown imagery) and production designer Dean Tavoularis's extravagantly shabby hotel rooms, whorehouses, dance halls, and offices.

The first article consists of an interview with cinematographer John Alcott, while the second article looks in detail at the Steadicam, Garrett Brown's then - brand - new stabilization rig.

New, restored high - definition digital transfer, supervised and approved by director Terrence Malick and cinematographer John Toll, with DTS - HD Master Audio soundtrack on the Blu - ray edition

Not exact matches

Spielberg's sure hand and usual collaborators — musician John Williams, cinematographer Janusz Kamiński, and editor Michael Kahn (Sarah Broshar is also credited as an editor — make the movie impeccable.

The unusually large list of first - time governors includes directors Condon and Cholodenko, cinematographer Spinotti, executive Dick Cook, visual effects technician John Knoll and sound mixer Scott Millan.

Add Spielberg's other secret weapons — John Williams as composer, Janusz Kaminski as cinematographer, and Ann Roth as costume designer — and you've got a sure - fire Oscar contender and cultural conversation - starter.

Maria Oden - Professor in the Practice of Engineering in the Dept. of Bioengineering at the George R. Brown School of Engineering at Rice University, and Director of the Oshman Engineering Design Kitchen (OEDK) at Rice Louie Schwartzberg - Award - winning Cinematographer, Director, Producer and Curator, Moving Art John Warner - Founder, President and Chief Technology Officer, Warner Babcock Institute for Green Chemistry, LLC

Then, there is presidential candidate Senator John Edwards, who installed his Sugar Baby and mother of his love child, Rielle Hunter, as his campaign cinematographer?

Accompanied by camels, a dog, and, occasionally, National Geographic photographer Rick Smolan (Adam Driver), Davidson's journey is brought to life by director John Curran and cinematographer Mandy Walker (Australia).