Sentences with phrase «movies as a cinematographer»

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.

Serving as the primary cinematographer, he employs a run - and - gun style for much of the movie, using a lightweight digital camera that at times lurches so dramatically that you can visualize the body attached to it.

A former cinematographer, Los Angeles - born Ted Tetzlaff entered the movie business as a lab assistant before becoming a camera assistant, and became a cinematographer in 1926.

It's a strong (albeit familiar) premise that's immediately threatened by a surprisingly (and distractingly) low - rent visual sensibility, as filmmaker Craig Gillespie, along with cinematographer Javier Aguirresarobe, has infused Fright Night with a hackneyed artificial darkness - ie it's almost as if the pair were trying to emulate the appearance of David Fincher's movies - that both holds the viewer at arm's length and highlights the laughably unconvincing computer - generated special effects.

The other elements of the film come together splendidly as well, from the loving - but - not - trite shots of Manhattan, courtesy of cinematographer Ben Kutchins (the «Veronica Mars» movie), to a first - rate comic ensemble that also includes Jason Mantzoukas, Andrea Savage, Natasha Lyonne, Amanda Peet, and Marc Blucas (plus brief but memorable appearances by Adam Brody, Anna Margaret Hollyman, Billy Eichner and Michael Cyril Creighton).

It was a mind bender that was filmed by cinematographer Emmanuel Lubezki who made a bold choice to film the movie as if it's one long tracking shot that lasts for two hours.

Beautifully shot by cinematographer Benjamín Echazarreta, the movie slides into the surreal as Marina imagines herself in a dance club, a glittering version of the woman she longs to be.

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).

He produced movies like Citizenfour and Magic Mike XXL (the latter of which he served as cinematographer) and TV shows The Girlfriend Experience and The Knick (the latter of which he directed all 20 episodes).

He served as the cinematographer and editor of Magic Mike XXL, the tone - poem sequel to his male - stripper movie that bathed its chiseled cast in moody color filters.

The influence on those later films is obvious, as Wong and his longtime cinematographer Christopher Doyle apply the techniques of Chinese art movies to a kung fu epic.

But the movie has its own vibe, as Roskam and cinematographer Nicolas Karakatsanis work some remarkable effects with lighting, making Schoenaerts look simultaneously bulky and small, and as Roskam has his characters grunt at each other and move through sliding doors, on their way to the slaughter.

From director Jeremy Saulnier (Blue Ruin)-- formerly a cinematographer (Putty Hill, Septien)-- the movie is meticulously shot and acted, as fine a piece of cinematic craftsmanship as there is.

Adapted from a 1993 novel by Irvine Welsh, who has a cameo in the movie as a drug dealer, Trainspotting was created by the same team that turned out the much less interesting Shallow Grave: producer Andrew Macdonald, director Danny Boyle, writer John Hodge, lead actor Ewan McGregor, and the same cinematographer, production designer, and editor.

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.

Besides Newman, who, as Ebert noted, was taking an active hand in shaping and developing a fairly consistent character archetype over several years and films, they included co-screenwriter Frank Pierson, who would go on to write Dog Day Afternoon; cinematographer Conrad Hall (In Cold Blood, Butch Cassidy and the Sundance Kid, Fat City, Marathon Man); editor Sam O'Steen (Carnal Knowledge, Chinatown); and sound mixer Larry Jost, who would work with O'Steen on those two films and then go on to One Flew Over the Cuckoo's Nest — a movie that is in many ways Cool Hand Luke's spiritual cousin.

As cinematographer Roger Deakins said of the movie, «I don't think it has one style.»

plotting to be any fun as camp, and too ponderous to be watchable as a purely bad movie, Diablo doesn't offer much beyond a reminder of other, better films and some choice Alberta scenery framed by a cinematographer who shot John Carpenter and Robert Zemeckis» best work, but is now doing this.

From the opening section, which finds Harry fending off an attack by Dementors in a storm sewer near his neighborhood and running afoul of wizard rules prohibiting spell - casting in the presence of Muggles, through the installation of a chillingly polite authoritarian named Dolores Umbridge (Imelda Staunton) as Hogwarts» new Defense Against the Dark Arts teacher and future grand inquisitor, to the near - collapse of the wizard world's governing body, the increasingly ossified and timid Ministry of Magic, Phoenix is steeped in a mix of fear and futility confirmed by the movie's visuals, photographed by cinematographer Slawomir Idziak.

When: January 27th Why: This is Lawrence Sher's first film as a director, though he's previously worked as a cinematographer on such movies as «The Hangover» series and «Garden State.»

To that end, the movie is filmed in crisp black - and - white (by Russian cinematographer Aleksei Rodionov), a stylistic choice that makes the proceedings feel both starker and swifter; it's as though the mere presence of color might have slowed the story's momentum.

Problem is, Victor Frankenstein also looks like a glorified TV movie, when it regards the framing choices and camera setups used by McGuigan and cinematographer Fabian Wagner (whose background is primarily in television, as it were).

But like Shampoo, it's one of the best L.A. movies ever made (the city is pictured as a sunlit land of pseudo-expectations and lo - fi hedonism, but not scabrous or doomed) and it is, I think, cinematographer Harris Savides's finest moment.

Any new Paul Thomas Anderson film is guaranteed to create excitement, but «Phantom Thread» has generated more buzz than usual for two reasons: The drama marks a reunion between Anderson and Daniel Day - Lewis ten years after «There Will Be Blood» and the movie finds the director serving as his own cinematographer on a feature film for the first time.

Goodnight Mommy is just a vacuous torture chamber, and shouldn't be looked at as anything more than an Eli Roth movie with a better cinematographer.

Set in France in the 1970s and shot by longtime Michael Haneke cinematographer Christian Berger, the movie stars Jolie and real - life husband Brad Pitt as an American couple drifting apart during a visit to a seaside town.

Dean Cundey (legendary cinematographer for all three Back to the Future films, in addition to iconic movies such as Hook, Jurassic Park and many more), will join the discussion and be available for questions during the Q&A.

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).

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.

Cinematographer Bradford Young lends the movie a dark and distinctive look, although his compositions feel hemmed in by the series» overall stylistic parameters, and Pietro Scalia's editing gives the action sequences a pleasing snap that makes you wish the combination of Howard's Rush and Apollo 13 played as well on screen as it does on paper.»

The movie has an anonymous, corporate sheen to it — cinematographer Steve Yedlin («Looper») might as well be shooting that Hilton's welcome video — but it merits a look for Pacino's interactions with his co-stars.

Raimi has assembled his own band of technical wizards and movie magicians on the project, which includes cinematographer Peter Deming («Mulholland Dr.,» «Drag Me to Hell»), two - time Academy Award ® — winning production designer Robert Stromberg («Alice in Wonderland,» «Avatar»), Oscar ® - winning film editor Bob Murawski («The Hurt Locker,» the «Spider - Man» trilogy), veteran Oscar ® - nominated costume designer Gary Jones («Spider - Man 2,» «The Talented Mr. Ripley»), visual effects Oscar ® winner Scott Stokdyk («Spider - Man 2,» «Spider - Man») and Academy Award ® — winning special makeup artist Howard Berger («The Chronicles of Narnia» series), who will create the looks of several of the unique denizens of Oz, including creatures such as the Whimsies, the Tinkers and the Winkies, as well as the ghastly look of the Wicked Witch of the West.

Since Anderson serves as cinematographer, there is sense in which the movie could be read as metaphor: Reynolds, the tortured, haunted, demanding artist may function as a stand - in for his writer - director - cinematographer author, who like Reynolds makes things that are, whatever else one might say about them, undeniably beautiful.

Eventually, things kicked up to a higher gear as we watched Justin Chon perform one of the film's many physical comedy lowlights while being filmed by Terry Stacey, a top - drawer cinematographer who has proven that comedies needn't be visually flat with «50/50,» «Adventureland,» and 2003's «American Splendor,» one of the best movies of the 21st century so far.

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.

Returning to the touristy Italian locales and museums of the earlier Langdon movies with the same cinematographer, Salvatore Totino, Howard isn't as slickly professional as before.

Co-produced by Keanu Reeves, the film follows the actor as he interviews directors, cinematographers, and technicians to discuss the future of movies, and both sides of the film - versus - digital argument are given ample time to defend their position.

Stylistically, director Robert Eggers and cinematographer Jarin Blaschke desaturate their film so as to look unlike anything else in the modern movie market.

Inarritu and cinematographer Emmanuel Lubeski (this year's Oscar winner for Gravity) set it up to act as one long continuous take, but differentiates itself from movies like Rope by not taking place in real time.