Sentences with phrase «cinematographer robert»

The book also features interviews with costume designer Milena Canonero, composer Alexandre Desplat, lead actor Ralph Fiennes, production designer Adam Stockhausen, and cinematographer Robert Yeoman; essays by film critics Ali Arikan and Steven Boone, film theorist and historian David Bordwell, music critic Olivia Collette, and style and costume consultant Christopher Laverty; and an introduction by playwright Anne Washburn.

Cinematographer Robert Richardson gives us a world bursting with color to serve as a romanticized version of old Hollywood, a world Hughes saw for the taking.

Cinematographer Robert Hauer, lensing the New Mexico landscapes in widescreen Panavision, shows an eye for harsh, sun - stricken terrain.

Elevating the picture that much further is the exemplary work of master cinematographer Robert Elswitt, regular Paul Thomas Anderson collaborator.

Shooting in wide screen, Stiller and his cinematographer Robert Brinkmann beautifully chart the feverish, darting horizontal movement in unbroken shots that heighten the manic energy.

Partly it's the genius of legendary cinematographer Robert Burks, and the French Riviera locations, filmed with an occasional dip into jade green Riviera nights and black expressionist shadows.

[The Wrap] • David Heuring chats with «The Town» cinematographer Robert Elswit.

Evocatively shot in deep - focus black and white by Australian cinematographer Robert Krasker, who would go on to collaborate with Reed on The Third Man, the director's first masterpiece is a noir - inflected portrait of a tragic hero navigating his own hometown as a stranger.

It is 1932, and Anderson and cinematographer Robert D. Yeoman match the shift by swapping anamorphic widescreen for the period - appropriate Academy ratio.

I really enjoyed the way that Anderson and his cinematographer Robert D. Yeoman decided to be very experimental with the way they shot this film.

Reed and cinematographer Robert Krasker (who would collaborate again on The Third Man) create images of stunning depth for this fierce, spiritual depiction of a man's ultimate confrontation with himself.

Wrapping up his work on the series» new season in December, Emmy - nominated cinematographer Robert McLachlan has kept himself plenty busy, between Ray Donovan and another HBO smash, Westworld.

While Gilroy's story is utterly thrilling, and cinematographer Robert Elswit's camerawork paints LA as a glittering, mesmerising urban killing field, Gyllenhall is at the beating heart of this film.

It's a rather simple plot, but that doesn't stop Tarantino from stuffing first hour of Django Unchained with memorable moments, kaleidoscopic imagery (Tarantino and cinematographer Robert Richardson utilize grainy film stocks to coat flashbacks in grindhouse grime), and dark humor.

To be fair, Forster «was not allowed to bring on his usual team», because the production felt he needed more seasoned supporting players like line producer Colin Wilson (Avatar) and Oscar - winning effects man John Nelson (Gladiator), and Oscar - winning cinematographer Robert Richardson (Hugo), all of whom were eventually replaced.

Lachmann's taken my number one position over John Seale's Mad Max by the slimmest of margins, and I seem to be one of the few people who laud Tarantino and cinematographer Robert Richardson for resurrecting Ultra Panavision cameras and lenses long lost to history in order to shoot a film that takes place almost entirely indoors.

Upping the ante on a hot project, three - time Oscar - winning cinematographer Robert Richardson has joined A Private War, the Matthew Heineman - directed feature that stars Rosamund Pike and Jamie Dornan.

Inherent Vice is a deliciously washed - out portrait of LA, conjured by Anderson with regular cinematographer Robert Elswit, who won an Oscar in 2008 for There Will Be Blood.

The story spans four eras (Anderson and cinematographer Robert D. Yeoman complement each period with the period - appropriate aspect ratio), starting with a present - day memento mori in a cemetery and moving back and back and back to 1932.

Strikingly filmed in black and white — cinematographer Robert Crasker won the Oscar for his work — The Third Man contains a great deal of suspense, several moments of dry British humor, and a fun performance from Cotten as the wide - eyed innocent.

He adapted the screenplay himself and recruited Oscar - winning The Hateful Eight and The Aviator cinematographer Robert Richardson to serve as his director of photography.

Those paltry bonuses are twofold: «Beyond the Eight: A Behind the Scenes Look» (4:58, HD), a promotional EPK with some talking heads and film clips amounting to less than five minutes of behind - the - scenes «insight,» and «Sam Jackson's Guide to Glorious 70 mm» (7:49, HD), which allows the star to explain the Ultra Panavision process and the work of cinematographer Robert Richardson.

Along with a pretty enticing cast, Tarantino has put together an impressive crew made up of some of his usual collaborators, including three - time Oscar winning cinematographer Robert Richardson, Oscar winning Sound Mixer Mark Ulano, and two - time Oscar winner for Visual Effects, John Dykstra.

It practically goes without saying that The Darjeeling Limited is filmed in the 2.40:1 Panavision format of which Anderson and his right - hand cinematographer Robert Yeoman have proven to be fond.

Appearing here are Anderson, executive producer James L. Brooks, the three Wilson brothers, James Caan, Robert Musgrave, producers Richard Sakai and Polly Platt, Kumar Pallana, Mark Mothersbaugh, Temple Nash Jr., cinematographer Robert Yeoman, and designers David & Sandy Wasco.

Cinematographer Robert Richardson's Panavision lenses, relics of the 70 mm golden age, provide stunning wide angles for the landscapes, as well as an unnerving sense of intimacy in the close - ups.

Cinematographer Robert Elswit expertly aids Anderson in capturing all of this and the actors.

However, although he was working hand in hand with the lenser of his new visual language (Oscar - winning cinematographer Robert Richardson has filmed every Tarantino film Kill Bill onward), Tarantino wasn't using a composer, instead he selected bits from previous film scores to «score» his films.

There's plenty to take in (cinematographer Robert Elswit rules!)

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.

Anderson and cinematographer Robert Yeoman have by now perfected their majestic sweeps and zooms of the camera.

Cinematographer Robert Elswit, who had shot all of Paul Thomas Anderson's previous features; Hard Eight, Boogie Nights, Magnolia and Punch Drunk Love picked up an Academy Award for his work on There Will Be Blood and rightfully so.

The massive ensemble, presence from composer Jonny Greenwood and cinematographer Robert Elswit ensures another all - round quality effort.

He's partnered with cinematographer Robert Richardson, best known for his work with Martin Scorsese's Hugo and Quentin Tarantino's The Hateful Eight.

Cinematographer Robert Elswit shoots gorgeous wide - angle shots of the West and employs slowly tracking cameras which weave around men and their machinations.

Also included in this batch of images are co-stars Simon Pegg, Jeremy Renner, and Ving Rhames alongside cinematographer Robert Elswit and McQuarrie himself.

Shot by Academy Award - winning cinematographer Robert Elswit, who has worked with Anderson ever since Hard Eight, scored by singer - songwriter Michael Penn, edited by the great Dylan Tichenor, who started as an apprentice on Robert Altman's movies and went on to do great films such as Magnolia, There Will Be Blood, Brokeback Mountain and The Assassination of Jesse James by the Coward Robert Ford, Paul Thomas Anderson's epic drama went on to garner three Academy Award nominations, did reasonably well at the box office by tripling its initial investment and, more importantly, showcased the surprising talent and determination of one of the few brilliant filmmakers of American contemporary cinema.

The rural island locations of Moonrise Kingdom are lush and wonderfully lensed by cinematographer Robert D. Yeoman («Bridesmaids «-RRB- offering something captivating to watch even for those who don't necessarily find enjoyment in unusual characters or stories.

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

Plus, collaborating with cinematographer Robert Richardson, why he's sticking with «Angels in America» for so long, and more.

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.

We have an HD version embedded now, so you can get a better idea of the wet foggy light 2 - time Oscar winning cinematographer Robert Richardson might be using to tone down the gore factor.

Affleck has master craftspeople like cinematographer Robert Richardson, set decorator Nancy Haigh, and costume designer Jacqueline West operating at the top of their game.

He convinces in the action set - pieces (particularly in an extended motorbike chase through Manilla), which are well - executed by second unit director Dan Bradley and Oscar ® - winning cinematographer Robert Elswit (There Will Be Blood), and generally delivers a nuanced portrayal of a complexed character.

Cinematographer Robert Richardson gives Tarantino's images and compositions a crispness and precision unseen in his previous films.

Cinematographer Robert Elswit frames the film to impeccable, especially with a character who often talks about framing.

With the help of that superb cinematographer Robert Richardson (The Aviator, Hugo), Serkis imbues the look of his movie with infectious buoyancy.

Rachael Kaines chats with cinematographer Robert Yeoman about working with Wes Anderson... It's been two decades since the release of Wes Anderson's first feature film, Bottle Rocket (1996) and a lot has changed for the people involved.

There are entire scenes where one character walks into a room and starts talking to another character and the rest of the scene plays out alternating shots of the actors» faces (which seem to eschew makeup and draw attention to actors» freckles and moles and other «blemishes») and in cinematographer Robert Elswit's creamy»70s - style lighting.

Anderson and his longtime cinematographer Robert Yeoman shot «Budapest» on 35 - millimeter film and switched aspect ratios to signal changes in time periods.