I don't think, in the history of cinema, has there been such a director/cinematographer collaboration as good as PTA and Elswitt.  When I saw the scene in PDL where Barry and Lena first meet in Hawaii (the poster shot), I LITERALLY sat forth in my seat in the cinema, mouth agape...  I was enthralled by it.  That's magic for you.  I never saw anything so brilliant before.  I looked back at my friend Eoin and said "Are you seeing this???"

Just thought I'd share.

Can't say I agree with you that there has never, in the history of movies, been a director/cinematographer combo as good (check out the thread on this subject in Director's Chair [I think] for other wonderful ones), but I definitely agree with you on the magic of that one shot. It is possibly my favourite image that I've seen in the cinema - certainly recently. It is an incredible shot. The layers, the colours, the sheer beauty of it, the fact that it is reminiscent of the artwork in the movie (as many compositions in the film are): it is pure cinematic delight.

Obviously there can't be a BEST COLLABORATIon.  What I meant was--PTA and Elswitt rock together!!  Really they do.  OF course, there hundreds of other directors and DP's who work really well but these two really stand out.

I've said this before on another thread, I can't wait for PTA to work with someone else besides Elswitt. I think Elswitt is good, but not amazing or anything.

why would you like to see him work with someone else?

Stick withwhat works, I say

Quote from: poserwhy would you like to see him work with someone else?

Stick withwhat works, I say

for the challenege i guess. the collaboration works fine, but I'd like to see how someone else handles his material.

in the Sydney commentary there is a brief point from Robert....I think he says something along the lines of...."I don't necessarly like the same stuff as Paul, but I know what he is looking for".....I think it sums it up pretty damn good.

QuoteStick withwhat works, I say.

I say you say wrong. If you always stick with what works, everything is eventually going to be the same. Push the boundaries and try new things.

Most of you may know this, but in PDL, when Barry is on the phone with Georgia, for the first time, the camera whips to the left and then back to Barry.  Apparently it was an accident, but PTA liked it so they hit the mattebox at the same time on every take.  I read something with Elswit and he mentioned it.  The fact that he went with it is pretty fucking cool.  I'd think most DP's would say no fucking way.  Look at that prick on Project Greenlight, knocking the camera because he didn't like his framing.

Quote from: jasper_windowApparently it was an accident, but PTA liked it so they hit the mattebox at the same time on every take.  I read something with Elswit and he mentioned it.

Might have been here.  If not, it is still of interest:
http://xixax.com/phpBB2/viewtopic.php?t=820

Yeah I read it in a fuji film insert in, I believe, millimeter magazine.

Quote from: The Silver Bullet

QuoteStick withwhat works, I say.

I say you say wrong. If you always stick with what works, everything is eventually going to be the same. Push the boundaries and try new things.

Push the boundaries fo' shiz, mos' def', but that doesn't mean changing the DP. Try new things/push the envelope together. look at the way they've evolved together so far.

so, I say you say ongwray homay

that shot reminds me a lot of the shot in the opening of the Lost World....except, they go a step further......they link by sound too......the screaming, to Goldblum's mouth open, yawning........that shot has always stuck out in my mind and that was before i even thought about things like transitions