Sentences with phrase «of cinematographer»

Brianna advises photographers to think about the shoot from the mind of a cinematographer who takes the viewer through a journey.

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

By situating the audience perspective at the borders of grotesque violence, both at a remove in the case of the CCTV cameras and in decontextualizing, arresting close - ups with the help of cinematographer Tom Townend, Ramsay conveys a more ruminative position on the effects of violence.

All of this comes courtesy of cinematographer Chung - hoon Chung, who also shot the recent It.

These tender artistic flourishes are complimented by the work of cinematographer, Tim Orr, who captures beauty in the ashes.

All of this comes courtesy of cinematographer Chung - hoon Chung, who also shot the recent

But its complexity of feeling, the undoubted chemistry of its reunited stars Julie Christie and Alan Bates, the lushness of cinematographer Gerry Fisher's Norfolk landscapes and the critical late - 1960s sensibility provided by the acute eye and complex psychological insight of Losey — plus the revelatory use of time - frames, flashback and point - of - view in Pinter's script — guarantee its lasting appeal.

The film marks the welcome return of cinematographer extraordinaire Roger Deakins, whose work has been so intertwined with the Coens since

Aside from the fact that it's a technical marvel, thanks to the extraordinary talents of cinematographer Emmanuel Lubezki, the film is a cathartic release and change in direction for Mexican filmmaker Alejandro González Iñárritu, who lets out on everything from critics to art to love and everything inbetween.

James Le Gros plays his egotistical, impulsively improvising star with blow - dried smarminess, Catherine Keener has a crisis in confidence as his female lead, and Dermot Mulroney swaggers in an eye - patch and leather vest as the artiste of a cinematographer.

Ishtar even boasted the participation of cinematographer Vittorio Storaro (Apocalypse Now), who would win his third Academy Award the same year for his work on The Last Emperor, and Anthony Powell, a three - time winner of the costume design Oscar.

The film marks the welcome return of cinematographer extraordinaire Roger Deakins, whose work has been so intertwined with the Coens since Barton Fink until scheduling conflicts forced him to miss Inside Llewyn Davis.

The director is creating a portrait of an era in the way an old Hollywood epic would strive to do, both in her discursive storytelling and the gorgeous, Malickian photography of her cinematographer Rachel Morrison.

This is partly thanks to the brilliant craft of cinematographer Caleb Deschanel, who worked closely with director Carroll Ballard so that they could tell a story largely in images, especially in the first half of the film, which has little dialogue.

With the aid of cinematographer Roger Deakins, this opening sequence already astonishes with its unique use of light and darkness among the slender, splintery trees.

The credits provide the answer in Director of Cinematographer Roger Deakins, probably the best in the business.

Through the lens of cinematographer Charlotte Bruus Christensen (The Hunt), every inch of their Midwest farm is captured with a honey - tinged sadness, painting portraits of deadly American badlands - cornfields and forests hiding preying - mantis - looking mutants, who hunt solely via sound.

And Lee, for the first time bringing to mind the trenchant American visions of John Ford, crafts a film distinguished by its terrific performances, lyrical appreciation of landscapes and faces, and remarkable degree of historical accuracy, qualities supported by the contributions of cinematographer Frederick Elmes, production designer Mark Friedberg, and costumer Marit Allen.

As an aside, this must be the nadir of cinematographer Dean Semler's illustrious career.

Some of the open landscapes look strong, courtesy of cinematographer Rachel Morrison (Mudbound; Dope).

A wobbly camera can tilt all too lazily into cliche, but here the work of the cinematographer Rachel Morrison suggests a deeper instability.

With the help of cinematographer Javier Aguirresarobe and supporting actress Fionnula Flanagan, Amenabar introduces seemingly sinister elements bit by bit.

He was the son of cinematographer Harry Stradling (A Streetcar Name Desire, Funny Girl, The Picture of Dorian Gray, My Fair Lady).

Anderson knows how he wants his films to look and feel, as he plays the role of cinematographer, creating a smooth hue that is palpable in almost every frame.

The one saving grace of Sicario is the considerable talent of cinematographer Roger Deakins, who continually finds new, striking images to couch all the action in: breathtaking aerial shots that fittingly transform the border zone into some hugely elaborate model, the green - tinged night - vision shots that accompany the team taking over a cartel tunnel, the impenetrable sea of dust a bomb blast carries in its wake.

The directorial debut of cinematographer Reed Morano (Frozen River, The Skeleton Twins) is perhaps predictably gorgeous, a shiningly beautiful film with an ugly story.

This is in no small part due to the work of cinematographer Dariusz Wolski («Exodus: Gods and Kings,» as well as the upcoming «The Walk») and company.

Over Twitter and Tumblr earlier today, Star Wars: Episode VIII director Rian Johnson shared an image of cinematographer Steve Yedlin standing inside what appears to be the Millennium Falcon, and the message «Hard to believe we're wrapping up week four already, it's just flying by.»

Maltin's books include The 151 Best Movies You've Never Seen, Of Mice and Magic: A History of American Animated Cartoons, The Disney Films, and The Art of the Cinematographer.

Employing the services of cinematographer Zack Galler (The Sleepwalker) for what should be another distinctly distinguishable looking film, noteworthy creative folk in Filmmaker Magazine 25 New Faces» Sofía Subercaseaux (Dina) and Art Director Naomi Munro (It Comes at Night) are part of the fold.

The picture loosened the old form of film censorship's hold on the motion picture industry (to pave the way for new censorship, natch), but its most enduring legacy could be the popularization of the cinematographer - as - voyeur.

is given screen life under the sure hand of cinematographer Haskell Wexler, the genius lenser fresh from lovely work with Tony Richardson, Elia Kazan, and Franklin Schaffner and just two years away from making his own generational statement with the reality - skewing Medium Cool.

With the aid of cinematographer Roger Deakins («Skyfall») and composer Johann Johannsson («The Theory Of Everything»), Villeneuve parlays Sheridan's words into a beast of a drama that moves with purpose and precision, nearly crossing the finish line without so much as a blemish.

Villeneuve («Arrival,» «Prisoners») steeps the L.A. futurescape with sly references to Scott's original — from the high - tech billboards for Coca - Cola and Atari to the hints of Vangelis» synthesizer score in the butt - rattling soundtrack by Benjamin Wallfisch and Hans Zimmer — and the bleak imagery of cinematographer Roger Deakins.

This energy and vivacity is captured, too, in the film's visual style — courtesy of cinematographer Steve Yedlin, and editor Gabriel Wrye.

Carter Burwell's music, combined with the film's cloudy landscape shots (courtesy of cinematographer Tobias Schliessler, who worked with Condon on «Dreamgirls») add to a sense of nostalgia.

Wexler talks about coming onto the set after the departure of cinematographer Nestor Almendros and how he then worked on the film.

The film takes a brief and mildly creepy detour into rom - com's tepid waters, and here at least a few surreal splashes and visual flourishes courtesy of cinematographer James Liston's keen lensing, distract us for a little while.

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.

Like so many modern movies, the credits follow the film instead of precede it but one doesn't need to see the names of the cinematographer, editors, and composer to know that this is one of the most technically accomplished major sci - fi films in YEARS.

The Oscar - nominated work of cinematographer Roger Deakins and editor «Roderick Jaynes» is also second - to - none, and it's a crime composer Carter Burwell didn't get his own nod for his insinuating score.

Then we reflect on the career of cinematographer Roger Deakins, and round out our episode with the things we have loved in February 2018.

Charlize Theron, meanwhile, presented Allen Daviau — an Oscar nominee for films like E.T., The Color Purple, The Empire of the Sun and Bugsy — with the Lifetime Achievement Award, while the ASC John Alonzo Heritage Award — named in honor of the cinematographer of such classics as Harold and Maude, Norma Rae and Scarface — was presented to a pair of student filmmakers, Brian Melton from the North Carolina School of the Arts and Lyle Vincent from the NYU Tisch School of the Arts.

Aided by the marvelous, impressionist - styled images of cinematographer Nestor Almendros and a swooning score by Georges Delerue, François Truffaut transforms his second adaptation of a novel by Henri - Pierre Roché (author of Jules and Jim) into an overwhelming sensory experience.

4 January 2006 «According to an unidentified source from Taiwan, the post of cinematographer of the movie now belongs to Darius Khondji (The Interpreter, Panic Room, Se7en), rather than Wong Kar - Wai's regular Christopher Doyle, and another Wong regular William Chang is still in charge of the production design.

Though the film, with the strong assistance of cinematographer Dick Pope, succeeds in capturing the look and feel of the time as well as the essence of Turner's beautiful landscapes and...

Rahul Jain, accepting an early award for his documentary «Machines» on behalf of cinematographer Rodrigo Trejo Villanueva, hesitantly asked the crowd if he was «allowed to go political here.»

With the immense help of their cinematographer, Roger Deakins, they render the landscape in ways that set apart its inhabitants as actors in a vast folkloric enterprise.

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

As Stuart mentions above, Jarhead is at times visually stunning, with some remarkable desert scenes truly showing off the abilities of cinematographer Roger Deakins.