Sentences with phrase «even as cinematographer»

Not exact matches

It's a smart choice, allowing cinematographer Ben Seresin and production designer Ben Scott to entertain us with sumptuous color and light even as we cringe at the sound of the narrative wheels laboriously squeaking.

With painterliness, Mendes and cinematographer Conrad Hall present this moody tableau in what is a continuation of the picture's running homage to the images, themes, even favourite subjects of American painter Edward Hopper, such as an all - night diner in the middle of nowhere, an unevenly lit apartment, and silhouettes imprisoned in blocks of yellow light.

There's no lack of immediacy in the footage south of the border, where Heineman, who filmed with a small crew and served as one of his own cinematographers, captures the eruption of live fire, a gunpoint interrogation in the back of a moving car and even a scene of torture.

Preminger and cinematographer Joseph LaShelle often tellingly linger on visual details that suggest incarceration, such as, most literally, the bars over the windows of a prison, or, more suggestively, the beams of street railings or the panes of apartment windows that reveal the busy city to be ever - present even within people's homes.

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.

But there are some new touches in Wonder Wheel, such as trading Allen's beloved Manhattan environs for the tacky charm of Coney Island, and allowing Vittorio Storaro — the legendary cinematographer of Apocalypse Now, Last Tango in Paris, and the never - discussed - enough Dick Tracy — to paint the film with a lovely evening palette of blues and purples.

The cinematographer had challenges even in finding a support crew who knew how to work with film, as digital has become, for many, the only way to shoot a film.

High stakes duly established, Villeneuve, production designer Dennis Gassner and genius cinematographer Roger Deakins (if he doesn't finally win an Oscar for this, the film industry is truly blind) take full advantage of the mega-budget that franchise filmmaking provides to craft some of the most striking visuals ever put on film, building on Scott's ruined future in ways that — ironically given the themes of the movie — feel absolutely real and lived in, even as that world is occasionally revealed to be less than authentic.

Even with two - time Academy Award - winner Christoph Waltz as the central baddie, even with an opening sequence set during the Day of the Dead featuring an absolutely flabbergasting tracking shot helmed by cinematographer Hoyte Van Hoytema (The Fighter), it's astonishing how little of interest actually takes plEven with two - time Academy Award - winner Christoph Waltz as the central baddie, even with an opening sequence set during the Day of the Dead featuring an absolutely flabbergasting tracking shot helmed by cinematographer Hoyte Van Hoytema (The Fighter), it's astonishing how little of interest actually takes pleven with an opening sequence set during the Day of the Dead featuring an absolutely flabbergasting tracking shot helmed by cinematographer Hoyte Van Hoytema (The Fighter), it's astonishing how little of interest actually takes place.

Technically, the cinematography, in real nighttime conditions (about 75 % of the film is shot in darkness), is hypnotic (the only visual flaw of the film is a too obvious imposition of a rock face that is illuminated in a lightning strike as the doctor urinates), and cinematographer Gokhan Tiryaki gets major kudos, but, even more so is the almost nonexistent soundtrack, whose power is palpable, and shows how utterly superfluous most soundtracks are.

(Roger Deakins is a tough act to follow, even for a cinematographer as accomplished as Interstellar shooter Hoyte Van Hoytema.)

Handsomely shot by Steve Yedlin, Rian Johnson's regular cinematographer, and boasting a typically likable Dwayne Johnson as its star, San Andreas nonetheless struggles to drum up tension or interest, even as skyscrapers topple like Jenga towers and massive tidal waves sweep through San Francisco Bay.

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.»

Potter and her cinematographer Robbie Ryan (who shot last year's Wuthering Heights) have captured a natural - looking recreation of early -»60s London, and a penchant for close - ups helps sell the performances of the actors even as the drama dwindles.

But even with a jaundiced eye, Inside Man cements Lee as one of the few filmmakers with the brass ones to comment on the race schism, and to shoot (with assistance from ace cinematographer Matthew Libatique) a post-9 / 11 New York with the gravity of a heart attack.

After an eight year period of silence following his time travelling Sundance Grand Jury Prize winning debut Primer, Shane Carruth returns to his position not only at the helm with his latest masterpiece, Upstream Color, but once again as writer, actor, cinematographer, sound designer, editor and even distributor.