Films with Great Cinematography

[wilder]

Talk About the Future, Pt. 1
via Film and Digital Times

Madelyn Most wrote at Camerimage last November: “There was a certain buzz, not only about the new cameras, but what impact digital technology was having on the actual job and responsibilities of cinematographers. Has it really surpassed film?”

Madelyn prepared a 12-page booklet of observations by cinematographers, mostly British and American, assembled fast and furiously in time for the BSC show this past February 2012.

In a few weeks, Madelyn will update us with new comments in a new booklet consisting of French cinematographers. It will be interesting to compare what has happened in the intervening year, and to see what cultural currents emerge.

Talk About the Future - Part 1 - PDF


Le Futur, Part 2
via Film and Digital Times

Previously, Madelyn Most discussed the impact of digital on cinematographers, mostly in England. In this article, she takes her investigation to France:

Returning home to France last winter, I wondered how cinematographers here would respond to the digital versus film debate. After lengthy interviews and discussions, each person decided to compose their own contribution in their own words. Here are their most immediate, honest, and sincere thoughts on the subject.

Le Futur, Part 2 - French Cinematographers - PDF

-Bruno Delbonnel
-Philippe Rousselot
-Guillaume Schiffman
-Eric Gautier
-Agnès Godard
-Darius Khondji
-Thierry Arbogast
-Caroline Champetier
-Philippe Ros
-Benoit Delhomme

[wilder]

from Last Year in Marienbad

Color photos from the sets of films shot in black and white - 'Black and White in Color' @ Criterion

[wilder]

I made a list:

Black & White

John Alton (T-Men, Raw Deal, He Walked By Night)
George C. Clemens (“The Twilight Zone”)
Stanley Cortez (The Night of the Hunter, The Secret Beyond the Door, Since You Went Away)
Freddie Francis (The Innocents, The Elephant Man)
Lee Garmes (Shanghai Express, Nightmare Alley)
Bert Glennon (Underworld, The Scarlet Empress, Crime Wave)
James Wong Howe (Sweet Smell of Success, Seconds)
Masao Kosugi (Tears on the Lion’s Mane, Pale Flower)
Charles Lang (Sabrina, Strangers When We Meet, Desert Fury)
Ernest Laszlo (Kiss Me Deadly, The Big Knife)
Sam Leavitt (Cape Fear '62, A Star Is Born '54)
Nicholas Musuraca (Cat People, The Curse of the Cat People, The Seventh Victim)
Harold Rosson (The Docks of New York)
John L. Russel (Psycho)
John F. Seitz (Sunset Blvd., Double Indemnity)
Sergei Urusevsky (The Cranes are Flying)
Sacha Vierny (Hiroshima mon amour, Last Year at Marienbad)
Haskell Wexler (Who’s Afraid of Virginia Woolf?, The Conversation)

Color

John Alcott (A Clockwork Orange, The Shining, Barry Lyndon)
Michael Ballhaus (Rainer Werner Fassbinder’s films, The Color of Money, Goodfellas)
Sharunas Bartas
Christian Berger (Benny's Video, The Piano Teacher, The White Ribbon)
Robert Burks (Vertigo, North by Northwest, The Birds, Rear Window)
Yves Cape (Hadewijch)
Jack Cardiff (The African Queen, Black Narcissus, The Red Shoes)
Michael Chapman (Taxi Driver, Raging Bull)
Jordan Cronenweth (Blade Runner)
Henri Decaë (Jean-Pierre Melville’s films, Purple Noon)
Robert Elswit (Hard Eight, Boogie Nights, Magnolia, There Will Be Blood)
Teo Escamilla (Deprisa Deprisa, Cria Cuervos)
Hans Fromm (Barbara, The State I Am In)
Tak Fujimoto (The Silence of the Lambs)
Martin Gschlacht (Revanche)
Conrad L. Hall (Cool Hand Luke, In Cold Blood, Marathon Man, Road to Perdition)
Winton C. Hoch (The Searchers, The Quiet Man)
Peter Hyams (2010)
Darius Khondji (Funny Games U.S., Amour)
Ed Lachman (True Stories, The Virgin Suicides, Ken Park, Far from Heaven, Ulrich Seidl's Paradise Trilogy)
Philip H. Lathrop (Point Blank, The Driver, Experiment in Terror)
Jody Lee Lipes (Martha Marcy May Marlene)
Joseph MacDonald (Bigger Than Life, Pickup on South Street, Will Success Spoil Rock Hunter?)
William C. Mellor (Giant, Bad Day at Black Rock)
Russel Metty (Douglas Sirk’s films, Touch of Evil)
Sven Nykvist (Bergman’s films, The Tenant)
Georgi Rerberg (Stalker, The Mirror)
Robert Richardson (Wall Street, Casino, Inglorious Basterds)
Aleksei Rodionov (Come and See)
Harris Savides (Somewhere, Greenberg, Margot at the Wedding)
Larry Smith (Eyes Wide Shut)
Dante Spinotti (Manhunter, Heat, The Insider)
Vitorrio Storaro (Apocalypse Now, One from the Heart, Last Tango in Paris, The Conformist)
Robert Surtees (The Graduate)
Peter Suschitzky (David Cronenberg’s films)
John Toll (The Thin Red Line)
Luciano Tovoli (The Passenger, Suspiria, Police, Tenebre)
Geoffrey Unsworth (2001: A Space Odyssey)
Jost Vacano (Das Boot, Robocop)
Derek Vanlint (Alien)
Gordon Willis  (The Godfather I & II, Interiors, Klute, All the President’s Men)
Andréas Winding (Playtime, La Prisonniere)
Vadim Yusov (Ivan's Childhood, Solaris)
Vimos Zsigmond (Images, The Long Goodbye, Scarecrow, Close Encounters of the Third Kind, The Deer Hunter)

[jenkins]

nice. good catch on Joseph MacDonald

what about

Gabriel Figueroa (Los Olvidados, Exterminating Angel, Night of the Iguana, Under the Volcano)
Ping Bin Lee (Hou Hsiao-hsien movies)
Sayombhu Mukdeeprom (Weerasethakul movies)
Cheng Siu-keung (Johnnie To movies)
Néstor Almendros (Claire's Knee, Maîtresse, Days of Heaven)
Alain Marcoen (Dardenne Bros movies)
Raoul Coutard
Christopher Doyle
Agnès Godard
Tim Orr
Eric Gautier (Pola X, Irma Vep, Kings & Queen, Wild Grass)
Arthur C. Miller (The Prowler,

[Pubrick]

nice lists you guys but I can't believe you both forgot the most obvious one:

any film shot by a professional cinematographer.

/thread

[jenkins]

*throws stack of papers in the air*

plus i forgot so many

[wilder]

Cinematographer Style (2006) - Part 1 of 6




Cinematographer Gordon Willis, Setting the Scene - 2002 NPR Interview

James Wong Howe: Cinematographer - Vimeo

Interview with Vilmos Zsigmond - Vimeo

[wilder]

In the second video, Gordon Willis talks about his relationship with Woody Allen and how much he influenced his visual style and blocking.

[wilder]

Interiors Journal on The Conformist

and

The director of photography for Apocalypse Now, One from the Heart, Reds, and Last Tango in Paris reveals his theory of the effect of colors on our emotions. Writing with Light: An interview with Vittorio Storaro, Film Quarterly, Volume XXXV, No. 3, Spring 1982

[wilder]

Interview with Stanley Cortez (Night of the Hunter)

[wilder]

Ed Lachman interviewed on Craft Truck

[wilder]

The documentary Visions of Light (1992) is available to view online at this link (for now). For a full list of the films discussed, go to the doc's wikipedia page.

[Mel]

Series "Through the Lens" from Craft Truck was great. To be honest I preferred some episodes with lesser known cinematographers (compared to Willis, Cundey or Lachman)  - interview with Tom Richmond is my favorite. Some videos were linked before, here is full list:

Craft Truck - Through the Lens:

• Andrij Parekh S01E01
• Reed Morano S01EP02
• Dean Cundey S01EP03 / S01EP4
• Salvatore Totino S01EP5
• Sam Levy S01EP6
• Wolfgang Held S01EP7
• Amy Vincent S01EP08
• Gordon Willis S01EP9 / S01EP10
• Nigel Bluck S01EP11
• William Rexer II S01EP12
• Andre Turpin S01EP13
• Tom Richmond S01EP14 / S01EP15
• Steve Cosens S01EP16
• Zach Zamboni S01EP17
• Ed Lachman S01EP18 / S01EP19
• Peter Deming S01EP20

THR Roundtable with cinematographers (still fresh - November 2013) is great to watch - there is some interesting discussion about digital.



DP/30 had interview with Roger Deakins:



Few other interviews from DP/30:

• The Social Network, cinematographer Jeff Cronenweth
• The Hurt Locker, cinematographer Barry Ackroyd
• Inception, cinematographer Wally Pfister
• Cinematographer John Schwartzman on Saving Mr Banks Part 1 / Part 2
• 127 Hours, cinematographers Anthony Dodd Mantle, Enrique Chediak
• Rest in playlist

There are some shorter interviews from Camerimage Film Festival (lots of them):

• 2013
• 2012

[Mel]

Never underestimate what can be done with just handheld. Jost Vacano talks about running with camera through "Das Boot".



btw. Any idea how this was shot?



First shot was made using crane and was stitched using CGI to the second one. The distance traveled in the second one looks too long for a crane shot, but I could be wrong.

[Mel]

Long crane shot from "Tenebre". Excellent buildup for the scene with voyeuristic feel.