Sentences with phrase «ups as cinematographer»

Not exact matches

As photographed by Danish cinematographer Magnus Nordenhof Jonck, Haigh's film allows strategic glimmers of sunshine to warm up the bleakly beautiful landscapes.

Its loneliness is, however, appropriate enough, and Cooke and cinematographer Sean Bobbitt contrive a moment in which they look marooned on that beach, as if washed up from some disaster.

The highlight is an FBI night raid on Dillinger and his cohorts holed up in Wisconsin's Little Bohemia lodge, as cinematographer Dante Spinotti's high - definition - video cinematography shows the blackest night in lustrous intensity.

The film doesn't spend much time showing her stay at the hospital, lasting only as long as the opening credits, but cinematographer Sean Price Williams (The Color Wheel, Somebody Up There Likes Me) makes the most of it.

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.

With cinematographer Robert Elswit behind the camera and Dylan Tichenor laboring in the editing room, both of whom are Anderson's long - time companions, Magnolia is also distinguished by the effective use of American rock singer Aimee Mann's songs, such as «Wise Up,» the piece that Anderson used as a glue tying the characters together in one particular impressive sequence.

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.

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.

Hopkins gets one or two scenes where he's actually enjoying himself and not just mentally calculating whether this paycheck can get him a walk - in humidor to go with the new wine cellar, and poor Haddock, as the female lead, is stuck contending with being a multi-degreed academic who nonetheless has an affinity for oxygen - depleting skirts and push - up bras, all captured in full effect by cinematographer Jonathan Sela («John Wick»).

The Russos, with assistance from people such as Winter Soldier cinematographer Trent Opaloch as well as second unit directors David Leitch and Chad Stahelski (the longtime stunt coordinators - turned directors of John Wick), serve up several precisely - choreographed action sequences, varying from quick - cutting fisticuffs to exhilarating foot chases and combat situations that make great use of individual superhero's unique abilities.

Coogler and cinematographer Maryse Alberti use the gritty cityscape as a backdrop for Adonis» transformation: While the young man grew up fighting all the time in group homes, he was able to live a life of luxury after Mary Anne found him.

It doesn't feel as if Greengrass has staged the events, but that his camera (in the expert hands of cinematographer Ivan Strasburg) happened to be there when the tragedy occurred, a witness to the British officers» planning, to the marchers» anger and panic, to the soldiers» gung - ho macho and to the cover - up that followed.

For every overwrought sequence of a boy's choir singing «Silent Night, Holy Night» — savor the metaphorical import — you get McCarthy and cinematographer Masanobu Takayanagi cleverly inserting schoolchildren into the background of a cover - up conversation and an AOL billboard doubling as a sly sick - joke punch line.

Up next for the cinematographer is Shut In, a «classical thriller in the dark,» starring Naomi Watts as a widowed New England child psychologist on the hunt for a boy who disappeared, played by Room's Jacob Tremblay.

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.

Working with his usual cinematographer, Chung Chung - hoon, Park again displays his eye for haunting detail: a daddy long - legs that creeps up India's bare calf, a metronome that tocks with foreboding, an eggshell that cracks as heavily as if it were the Earth's crust.

Cinematographer Robert Richardson's Panavision lenses, relics of the 70 mm golden age, provide stunning wide angles for the landscapes, as well as an unnerving sense of intimacy in the close - ups.

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.

Mick Audsley's editing proves as crucial to your absorption as what the daring cinematographer Salvatore Totino and the stunt and effects teams come up with.

If anything, he's a classic example of the studio director who knew how to set up a scene (look at the mise - en - scene and deep focus in The Little Foxes, for example — of course, having Gregg Toland as cinematographer didn't hurt) and then get out of the way of his actors.

Mudbound cinematographer Rachel Morrison made history as the first woman to win the NYFCC's Cinematography award; if she is nominated for the same award at the Oscars, she'd be the first woman up for that title.

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.

Pity a historian wasn't contacted for a rundown of the film's genesis; Carol Reed's walking off the picture after losing patience with Brando's ego, and Lewis Milestone taking the directorial reigns as a hired gun; nor a separate featurette on the film's cinematographer and composer; but what has been assembled is a good smattering of contemporary and archival productions about the impressive Bounty replica built from the ground up for a major studio production.

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.

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.

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.

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.

Up to this point, Pfister has spent his career as a cinematographer, most notably for The Dark Knight trilogy and Inception, and hopefully his time spent with blockbuster guru Christopher Nolan has rubbed off in a serious way.

Director Peter Weir, Cinematographer John Seale, and Writer Tom Schulman together provide an audio commentary track (and I use «together» loosely, as there's not really a conversational tone to it, which may have helped spice things up).

All the while, Collet - Serra and cinematographer Paul Cameron's camera breezes through and between cars, establishing the limited locale and following Michael along his back - and - forth way (It should come as no surprise that some of the passengers begin to suspect him of ill intent, given his behavior and the way he keeps showing up with some new injury).

Academy Award ® - winner Dean Semler returns as cinematographer with William Elliott returning as production designer, William Kerr returning as editor with special make - up effects wizard and five - time Academy Award ® - winner Rick Baker and visual effects supervisor Jon Farhat also returning.