Sentences with phrase «shot as a cinematographer»

Not exact matches

Follow the Cinematographer of Chamonix's Elite as he shoots everything «extreme!»

Spielberg tapped Kaminski to shoot Schindler's List in Poland just 12 years after the cinematographer had come to the United States as a political refugee.

Directed by Curtis Hanson, co-edited by Jay Rabinowitz, and shot by Amores Perros cinematographer Rodrigo Prieto, 8 Mile stars Eminem as an aspiring rapper choking on the poverty, stale air, and broken dreams of his trailer - park life.

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).

The images are certainly worth the price of admission as cinematographer Tim Orr somehow manages to shoot a film that looks both hyper - stylized and naturalistic at the same time.

(Liman and cinematographer Roman Vasyanov, shooting on Super 16 mm film, took care of principal photography in 14 days, using the western edge of California's Mojave Desert as a stand - in location.)

One does wonder why Lee would want to leave Manchester, a picturesque quaint New England town, as its beautifully shot land and seascapes by cinematographer Jody Lee Lipes (Trainwreck, 2015) give the impression of paradise.

Ben Davis, who shot Doctor Strange and Three Billboards outside Ebbing, Missouri, will serve as cinematographer, and Andy Nicholson (Gravity) is the film's production designer.

Giovanni Ribisi, John Leguizamo, Juno Temple, Elisabeth Moss, and many other familiar faces pop up in this painful, vivid drama, which Morano shot herself, pulling double duty as director and cinematographer.

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.

As the camera follows Oldman's portly bulldog Churchill chugging through his claustrophobic War Rooms, Wright's ace cinematographer, Bruno Delbonnel, matches the fluidity and impact of his trench - warfare shots in Jean - Pierre Jeunet's A Very Long Engagement.

Beautifully shot on 35 mm by Ben Kasulke (who made his debut as a cinematographer on the film).

Schwentke tries to invest visual energy in his latest attempt to prove his big - budget credentials — and in the movement and placement of cinematographer Alwin H. Küchler's (Hanna) roving frame, as well as the frenetic assemblage of shots by editor Mark Helfrich (Tower Heist), his endeavour shows signs of approaching success.

It's this section of the film that's the most powerful as director Garth Davis plunges us into the reality of the vast unfriendly metropolis, and cinematographer Greig Fraser («Zero Dark Thirty», «Rogue One») creates some memorable shots of the huge, unwelcoming city at night.

Now on board as cinematographer; Steven Soderbergh makes each shot look exquisite and the choreography of the dance sequences is exceptional.

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.

Shot mainly in Calgary, Edmonton and Winnipeg and lasting demanding 160 minutes, this «Victorian Western,» as Dominik called it, was shot by the legendary cinematographer Roger Deakins, nominated for the Academy Award no less than thirteen tiShot mainly in Calgary, Edmonton and Winnipeg and lasting demanding 160 minutes, this «Victorian Western,» as Dominik called it, was shot by the legendary cinematographer Roger Deakins, nominated for the Academy Award no less than thirteen tishot by the legendary cinematographer Roger Deakins, nominated for the Academy Award no less than thirteen times.

To distinguish the character - defining songs (always of inner turmoil) from the more matter - of - fact and plot - driving singing - as - dialogue, Hooper and cinematographer Danny Cohen shoot the characters» solos in long close - ups (most done in a one - take or with only a short cutaway in the middle or a complete break just at the final word)-- every tiny movement magnified and expanded on the screen.

Shot in the square academy aspect ratio by cinematographer Alexander Dynan, in long, measured takes captured by a mostly stationary camera, it marks the director's first conscious effort to mimic the hushed, contemplative aesthetic of directors like Robert Bresson, Carl Theodor Dreyer and Yasujiro Ozu, as brilliantly explicated in Schrader's seminal 1972 book, «Transcendental Style in Film.»

The film is shot primarily in black - and - white (with Rodriguez serving as cinematographer) with splashes of color for emphasis.

This geographic intimacy is captured vividly by cinematographer Hélène Louvart, who also shot «The Wonders» and documentaries «Pina» and «The Beaches of Agnès,» (among others; whether capturing a boardwalk fireworks show or the thick clouds of a vape bar, «Beach Rats» has an experiential, almost docudrama aesthetic whose lived - in authenticity is in keeping with that of the film as a whole.

Cooper and cinematographer Masanobu Takayanagi's framing of shots of the mangy - looking Baze brothers against shadowy backdrops of steel - town Pennsylvania are particularly striking as much of the film's narrative is a commentary against the lackadaisical treatment of military veterans and the dire financial state many find themselves in due to no fault of their own.

But it also could simply boil down to scheduling, as Fong is the cinematographer on Kong: Skull Island, which is in the midst of winding down a very lengthy shoot and likely wasn't available to prep and shoot Justice League as well.

Not long after, Morrison took something of a left turn, serving as cinematographer on the third and fourth seasons of hit MTV semi-reality series «The Hills,» Maybe it's not a job that everyone would have taken, but Morrison found it invaluable on the film that would become her breakthrough, Zal Batmanglij «s «Sound Of My Voice,» which premiered at Sundance in 2011 having shot at the tail end of 2010.

Phantom Thread is a work of tremendous focus, not only from Day - Lewis but also Paul Thomas Anderson, who writes, directs and shoots the film (albeit uncredited as the cinematographer).

Cinematographer Stephane Fontaine shoots the woodland with an idealised, pastoral soft focus, their ruggedness ultimately drowned out by the grace of nature whilst civilisation - all monolithic grey buildings and garish lights - is shot as if life draining.

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.

Cinematographer Bradford Young has shot some incredible films, such as «Arrival,» «Selma» and «A Most Violent Year.»

Somehow the brilliant cinematographer Christopher Doyle shot this, and his images came out disconnected and flat, as if they were put together wrong; or maybe it's just the odd, leaden, nonsensical pace of this thing that just render Doyle's images useless.

Cinematographer Danny Cohen constructs some beautiful shots of the bicycle races, including one wonderful sequence where he follows, at peddle height, Armstrong as the zips and weaves through and past his competitors.

Certainly, Malick would have been proud to conjure the rhapsodic visuals on display here, as cinematographer Christopher Blauvelt, often shooting in dusky half - light or lantern - lit darkness, scrutinizes the Oregon landscape with a keen eye worthy of the painter Andrew Wyeth; the dust - smeared pastel palette is gloriously counter-intuitive, as is Reichardt's unusual decision to shoot these seemingly infinite vistas in the Academy ratio, making sky as looming a threat as earth.

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.

Whether it's that final shot of the twin sunset on Ahch - To or Laura Dern's Holdo crashing her ship into a First Order Destroyer, Steve Yedlin says his job as cinematographer on Star Wars: The Last Jedi was made easier because of the way...

Rather like an extremely damped - down There Will Be Blood, Reichardt's film — based on historical events — depicts one group's journey through the Oregon Trail in 1845 as a trek through a hauntingly empty and alien landscape, with cinematographer Christopher Blauvelt exquisitely taking in the natural beauties of the settings while framing the increasingly desperate wanderers in wide shots to emphasize, in part, their ultimate smallness within the wild west.

It's shot by the same cinematographer as Ayer's last three films so it looks exactly like «Suicide Squad,» «Fury,» and «End of Watch» in the camerawork.

Gorgeously shot by Thornton, who started his career as a 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.

As you can probably guess, this invitation turns out to be a trap, as Tully — along with cinematographer Wyatt Garfield (who shot the filmmaker's previous feature, Ping Pong Summer)-- tirelessly endeavors to deliver an aura of menace with every misty framAs you can probably guess, this invitation turns out to be a trap, as Tully — along with cinematographer Wyatt Garfield (who shot the filmmaker's previous feature, Ping Pong Summer)-- tirelessly endeavors to deliver an aura of menace with every misty framas Tully — along with cinematographer Wyatt Garfield (who shot the filmmaker's previous feature, Ping Pong Summer)-- tirelessly endeavors to deliver an aura of menace with every misty frame.

Indulgent, sweet, and staged with all the visual panache of a sitcom (albeit a sitcom shot on 35 mm by Martha Marcy May Marlene cinematographer Jody Lee Lipes), the film doesn't find the Knocked Up director stepping forward or sideways so much as rocking a new wardrobe and standing in place.

Just as the French New Wave had one key cinematographer (Raoul Coutard — a resourceful, gifted technician who shot most of the early features of Jean - Luc Godard, Francois Truffaut, and Jacques Demy), the Hong Kong / Taiwanese new wave has its own pivotal director of photography, Christopher Doyle.

Its moral argument is as clear and crystalline as its images, shot by cinematographer Alexander Dynan in the nearly square academy - aspect ratio.

Moorhead's camera (he pulls double duty as cinematographer, just as Benson pulls double duty as screenwriter) shoots the Italian countryside beautifully, but sprinkles liberal bird's - eye flyover shots that manage to unsettle, hinting perhaps at something that only makes itself known from afar, otherwise hidden in plain sight.

Right from the start you know you are in good hands as Branagh, with prime help from cinematographer Haris Zambarloukos and production designer Jim Clay, sets up a couple of dazzling continuous tracking shots in which we are introduced to this magnificent train as well as the passengers — all of whom soon will be suspects.

He also replicates a single unbroken shot from the original film's sequence at a soccer stadium; this time, it's set at Dodgers Stadium and impressively shot by cinematographer Daniel Moder (Roberts» husband), as Ray and fellow detective «Bumpy» (Dean Norris) pick out the suspect out of the crowded stands and give him a chase.

Cinematographer Roger Deakins continues in his quest to go down as the Academy's version of Susan Lucci, receiving his 13th nomination for shooting drug war thriller Sicario, while legendary composers Ennio Morricone (The Hateful Eight) and Carter Burwell (Carol) are hoping for this first Oscar win after decades of unrecognized musical excellence.

He and cinematographer Lachlan Milne shoot this as a piece of nature cinema.

Haneke either depicts Erika's torment with distant, static takes or sequence shots, an approach that embraces sensationalism, as when cinematographer Christian Berger captures Erika vomiting in close - up at the end of a long take.