Not exact matches
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Apart from the depth of meaning in the film however, it's also wonderfully executed: the acting is right
on the money, and the
cinematography breathtaking... just
about every shot is perfect.
When the dance is finally beat, Robert Baker... or Alabama, there's something endearing enough
about the pretty points in
cinematography and score work, touching occasions in entertainingly well - paced direction, interesting spots in a colorful story, and across - the - board decent performances - especially the one by Evan Rachel Wood - for the final product to border
on decent, ultimately falling under the overwhelming weight of the glaring tonal and narrative incoherencies, flat humor, dramatic contrivances, problematic themes, even more problematic leads, ridiculous story and onslaught of clichés which render Andrew Fleming's «Barefoot» an occasionally charming, but mostly mediocrely misguided romantic dramedy.
Too many critics talk
about the
cinematography of the film, who cares
about the skylines, odd view points, etc let us just focus
on the story and the message of the movie.
I saw RIP TIDE (Aussie strictly Disney flick, cute for tweets but that's
about it), Argento's DEEP RED (for the first time and
on the big screen - was a gooey delight tripped up by the usual giallo issues), VICTORIA & ABDUL (odious and blandly crafted), and FIRST THEY KILLED MY FATHER (thankfully
on the big screen since Anthony Dod Mantle's
cinematography deserves it - the film is strong, even if Jolie is definitely not a subtle director).
The film is so beholden to the moods and manners of Malick that even its more estimable elements (the acting, the
cinematography, the very conceit of making a movie
about Abraham Lincoln that focuses exclusively
on what's ostensibly the least interesting part of his life, sort of a Younger Mr. Lincoln) are diffused into the ether.
Refn recently chatted with The Dissolve
about the films that served as milestones in his life, and the soundtracks and
cinematography that most left a mark
on his work.
Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white
cinematography, the disturbing score, and the narrative's single - minded focus
on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit,
on the one hand, our fascination with and, increasingly, horror
about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and,
on the other hand, to ensure that we keep some intellectual distance from the diegetic events.
«Stepping Into Darkness: The Visual Design of Sicario» focuses
on crafting the film's look and defining
cinematography, «Blunt, Brolin and Benicio: Portraying the Characters of Sicario» features interviews with the three leads, «Battle Zone: The Origins of Sicario» researches the brutal history of drug violence along the border (it features graphic imagery so beware), and «A Pulse from the Desert: The Score of Sicario,» which runs
about 6 minutes, profiles composer Jóhann Jóhannsson.
The tinting of Jean Dujardin's toothy mug to accommodate black - and - white
cinematography is
about to rob recognition from the folks who toiled away, one last time,
on magically morphing Ralph Fiennes into the pasty bane of Harry Potter's existence.
Film Comment spoke with Storaro, 76,
about his philosophical conception of
cinematography and his recent collaboration with Woody Allen,
on Café Society (2016).
In the conversations
about how to capture what Beachler was concocting
on film Morrison — who made history this year as the first woman to be nominated for the
cinematography Oscar for her work
on «Mudbound» — said Coogler referenced a variety of inspirations including Ron Fricke's nonverbal «Baraka» and «Samsara,» «The Godfather,» «Sicario» and «The Dark Knight.»
Though they'll find some gaps in the track,
cinematography students will hang
on every word
about Deakins» Oscar - nominated work.
With an enticing, complementary score from the Newton Brothers and Danny Elfman, and gorgeous
cinematography by Michael Fimognari that aches to be seen
on the big screen, ultimately BEFORE I WAKE awakens heartrending ideas
about hope and healing.
CAROL: Nominated for
Cinematography, Best Adapted Screenplay, Costumes, Best Actress for Cate Blanchett and Supporting Actress for Rooney Mara is based
on the Patricia Highsmith novel
about a love affair between two women in the 1950's.
The Oscar - winning
cinematography looks outstanding in the DVD's 2.35:1 anamorphic widescreen transfer, leaving just
about no room for improvement
on this format.
On a much more technical level there's plenty to praise
about The Handmaiden too: regular collaborator Chung - hoon Chung's
cinematography is as gorgeous as ever; delicate where it matters and fantastically pulpy in equal measure.
Backstory is the key to this film, which excels
on just
about every level — from character and story through
cinematography, editing, and musical score.
What is even more remarkable
about the film is how it has been received; awards for Best Picture, Best Director, Best Original Screenplay and Best
Cinematography at this year's Oscars is a phenomenal achievement for a film that,
on paper, is very un-Hollywood.
Available
on Amazon Kindle, Moonwatcher's Memoir: A Diary of 2001: A Space Odyssey by Dan Richter gives an insider's view of shooting «The Dawn of Man» sequence, with interesting details
about costumes, make - up, choreography and
cinematography.
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«We focused
on what fans loved
about season 1 and amped up the visual effects,
cinematography, and stunts so season 2 is going to be louder, faster and more electrifying than anything you've seen from us before!»
This free screening will be followed by a discussion with Steve Wurtzler, associate professor of cinema studies, and Diana Tuite, Katz Curator,
about the film's representation of landscape and the influence of wide - screen Technicolor
cinematography on the early work of artist Alex Katz.
He's acclaimed for his
cinematography and art direction work with musician Jack Johnson, as well as for his beautiful short films, such as «Tranquil Music,»
about the summery musical vibe in a pre 9/11 NYC, «The Half Way Tree,» a tale of Jamaican surfing made with Dan Malloy, «Oxfam Make Trade Fair,» documenting Minnie Driver's trip to Cambodia to raise awareness
on sweat shop labor.
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About Blog Insight, Reviews and Tips
on Filmmaking,
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About Site - Comprehensive up - to - date news coverage
on cinematography, aggregated from sources all over the world by Google News.
About Blog Comprehensive up - to - date news coverage
on cinematography, aggregated from sources all over the world by Google News.