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I believe that we are very quietly going through a golden age of cinematography. Simple as that. I spend more time talking to DPs than just about anything else in my business, though, mostly because they have the best stories and engage, for me, in the most fulfilling ways. So maybe I have a touch of bias. But when I look out across the industry, I'm gobsmacked by the talent on display, worthy heirs to a kingdom collectively forged by the titans: Shamroy, Surtees, Hall, Milner, Toland, Stradling, Storaro, Willis, Ruttenberg, etc. So it occurred to me: Why not showcase the most exciting names out there today? Subjective, of course, and I kept the list pretty big to be fairly inclusive. But I had no trouble filling it out, either. There are so many cinematographers out there who seem to represent the promise of exciting, bold and innovative cinema in the years to come. »
- Kristopher Tapley
Hoyte van Hoytema, the Dutch cinematographer who turned heads when he earned BAFTA and American Society of Cinematographers Awards nominations in 2012 for Tinker Tailor Solider Spy, is back in the Oscar conversation as director of photography on Christopher Nolan's Interstellar. Getting there meant filling some big shoes; this was the first feature that Nolan helmed without his longtime collaborator Wally Pfister, the Oscar-winning cinematographer who chose to pursue directing with his 2014 debut Trancendence. "I've been a big fan of their collaboration, and they had incredible chemistry; I was in awe of that working relationship," van Hoytema
- Carolyn Giardina
Hoyte van Hoytema has shot up through the ranks since his career has shifted over to the states. He caught most people's attention with "Let the Right One In," which hit theaters the same year as Christopher Nolan's "The Dark Knight." Now the fruits of his own collaboration with the blockbuster filmmaker, "Interstellar," finds itself in theaters. It's a notable change of personnel for Nolan, who until this time has always worked with Dp Wally Pfister. With Pfister transitioning to a career of directing, Nolan smartly tapped one of the most exciting talents in the business. And others continue to catch on, too. As we exclusively reported last month, Sam Mendes tapped Van Hoytema to replace Roger Deakins on his next installment of the James Bond franchise. But what Nolan and Van Hoytema have accomplished with "Interstellar" is a very different beast than the work Nolan has done with Pfister. »
- Kristopher Tapley
If Christopher Nolan is not the most popular, talented, influential or even interesting director working today, then he is certainly the most important.
The release of a Christopher Nolan movie, even one that “underperforms” at the box office like this week’s Interstellar, is by far the most fervently talked about work of art for several news cycles. Even in the face of constant barrages of Taylor Swift headlines, Nolan’s work is intensely debated and scrutinized in a way no other filmmaker receives for even one film, let alone all of them.
In fact, the wild, ranting, nitpick-y plot hole posts that were previously confined to IMDb message boards have this week migrated to real entertainment news sites. This one found 21 things that didn’t make sense about Interstellar, this one made objections to the science and plot on the whole, and this one found only 13. For whatever reason, »
- Brian Welk
Warning: this post contains spoilers for the movies Interstellar and Transcendence. The near-future setting of Christopher Nolan‘s Interstellar is unlike most we’ve seen lately. There are no smartphones, let alone ones with personalities to fall in love with. There aren’t even many computers, save for a laptop used by Matthew McConaughey‘s more tech-friendly character. Look at the emptiness of an administrator’s desk when he has a meeting at his kids’ school. In the same scene, a teacher spouts an exposition-laden belief that people of the 20th century were wasteful and excessive and spent too much money on “useless machines.” Given the dialogue and the apparent dependency on textbooks with a rewritten history of the (faked) Apollo program, we can assume there is no longer any Wikipedia, or any internet whatsoever. Outside of the secret Nasa facility, it’s a fairly analog world, one in which almost everybody is a farmer. It »
- Christopher Campbell
Technical difficulties messed us up a little this week, but we still pulled together an episode that includes reviews of Interstellar, Big Hero 6 and The Babadook. We also discuss the new Star Wars: Episode VII - The Force Awakens title, the news of a Toy Story 4 that's on the way and Laremy watches the trailer for Chappie and we hear his reactions... What fun! We also answer your questions, play some games and prattle on as long as we can before the technical issues bog us down just too much. Hope you enjoy! If you are on Twitter, we have a Twitter account dedicated to the podcast at @bnlpod. Give us a follow won'tchac I want to remind you that you can call in and leave us your comments, thoughts, questions, etc. directly on our Google Voice account, which you can call and leave a message for us at »
- Brad Brevet
Don’t Let’s Ask For the Moon: Nolan’s Space Opera for the Ages
At last divorcing himself from the omnipotent shadows of Batman, director Christopher Nolan’s latest, Interstellar, returns to the heady, theoretical sci-fi that graced his equally ambitious 2010 title Inception, wherein Avant Garde concept courted mainstream appeal. Already the source of wildly enthusiastic praise and acclaim, with filmmakers like Quentin Tarantino announcing the film to be equal to the philosophical sci-fi of Tarkovsky and the meditative cinematic poetry of Malick, Nolan has indeed crafted an object of great beauty worthy of such egregious admiration. As far as a masterful visualization of space and an exploration of profound theory, it belongs on a shortlist of must see films which it’s comparably akin to, from Kubrick’s 2001: A Space Odyssey to Cuaron’s Gravity. But Nolan’s film falls short in other realms, namely the human component, »
- Nicholas Bell
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At least once a month, Cinelinx will chose one director for an in-depth examination of the “signatures” that they leave behind in their work. With the release of Interstellar this week, let’s examine the trademark style and calling signs of Christopher Nolan as director.
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Nolan knew he wanted to be a filmmaker from a young age. He attended college to pursue this goal and eventually became the president of the local film society. While in charge of the film society, he screened films and used the proceeds to make short films, which were well received by his peers and the faculty. After college, Nolan couldn’t find any work and decided to raise funds to create a feature length film by himself. The result of that effort was Following (1998), which won several awards at festivals and impressed critics. »
- email@example.com (G.S. Perno)
It’s often said that filmmaking is a battle between art and commerce. In his career so far, British director Christopher Nolan has managed to strike a balance between the two better than just about any filmmaker currently working.
Look at how cleanly Nolan made the transition from independent movie-making to the Hollywood mainstream. He shot his first film in 1998, the black-and-white thriller Following, on a budget of just $6,000. Its festival success led him to make Memento, a uniquely constructed, taut psychological thriller made for a lean $5m. Despite Nolan’s initial difficulty in finding a distributor for the film - its style of editing was too confusing, they said - Memento became a hit, aided largely by strong reviews and positive word-of-mouth.
Observing Christopher Nolan move further and further into macro territory with larger and larger canvases that couldn't be more removed from the imposed modesty of his debut, "Following," one thing has become increasingly clear: he's a master of the big picture (as in the greater takeaway from a project, not scale and scope — though that's obviously applicable, too). This has never been more the case than with "Interstellar." It's a shame, though, that he is a filmmaker who holds things so close to the chest (i.e. screenings) that a number of critics who came away negative on the picture — and there are quite a few — won't have an opportunity to catch it again before needing to file their reviews. Because I imagine some of them would find a number of loose ends either tied up or, at the very least, singed into reconciliation. At least, I did. First and foremost, »
- Kristopher Tapley
Commentators have noted that this year's Best Actor race is stacked with way more than five outstanding candidates. And they are right. But compared to Best Cinematography, Best Actor is positively paper thin. As usual, an embarrassment of riches is present in this category, which awards a film's director of photography (Dp). The cinematography branch is partial to gorgeous looking films, black-and-white films and war films. After years of resisting digital photography, the branch has also embraced 3D work this decade. Being a Best Picture nominee can also help immensely, but so can being a foreign-language film; the branch has an international eye like few others. In any particular year, most of the nominees tend to be returning contenders. Moreover, many first-time nominees (such as Philippe Le Sourde and Phedon Papamichael last year) tend to be veterans awaiting their first nomination. Having said that, there hasn't been a year with »
- Gerard Kennedy
Can we all agree this ever growing science-fiction trope of technology evolving beyond human thought into other realms of understanding is a bit played out at this pointc We have seen it done well in Spike Jonze's Her to poorly in Wally Pfister's Transcendence, and those are just from the past twelve months (and are not the only two to grapple with this issue). From Blade Runner to I, Robot, we have seen just about every way to tell this type of story, and until we find a new way, there should be a moratorium put on it, which brings me to the subject of this review: Aut?mata. This pushes itself as a thinking man's thriller, and it is neither thought provoking or thrilling. It recycles the same points all of its predecessors bring up while lulling you to sleep. The film takes place in 2044 A.C. »
- Mike Shutt
Over at Slashfilm they noticed something of a throwaway line in a recent article at Variety discussing the new collaborative online project from cinematographers Janusz Kaminski (Lincoln), Phedon Papamichael (Nebraska) and Wally Pfister (The Dark Knight Rises) in which the trio will offer a series of online instructional videos for aspiring filmmakers at Advanced Filmmaking. The line has to do with Kaminski, which goes as follows: Since then, Kaminski has made more than a dozen films with Steven Spielberg, earning two Oscars along the way. His credits include Schindler's List, Saving Private Ryan and The Diving Bell & the Butterfly. His next project is the upcoming fifth Indiana Jones movie. Wait, whatc His next projectc Kaminski previously worked on The Judge, which hits theaters on October 10 (my review) and is now working on Spielberg's Untitled Cold War thriller (which is going by St. James Place on set, but that is not »
- Brad Brevet
Three major cinematographers – Janusz Kaminski (“Lincoln”), Phedon Papamichael (“Nebraska”) and Wally Pfister (“The Dark Knight Rises”) – have teamed to present Advanced Filmmaking, a series of online instructional videos for aspiring filmmakers.
“We conceived Advanced Filmmaking as a way to communicate lessons that aren’t normally covered in film school,” says Papamichael. “In our interactions with students and young filmmakers around the world, we saw a thirst for information about other topics like successful collaboration, making good career decisions and managing your personal life.”
Course modules vary in length, averaging about a half hour, and can be can be rented for one week via video sharing site Vimeo for $3.95.
The d.p. trio know one another well, having met at the beginning »
- Peter Caranicas
Sarah looks back at the Amityville films, and finds a lot of scary things, not all of which were intentional…
112 Ocean Avenue, Long Island is probably the most famous haunted house in the world. Not that you’ll necessarily recognise the address – it’s far better known as the Amityville Horror house. Back in 1975, George and Kathy Lutz moved their family into the house… and then 28 days later, they moved back out, claiming to have been driven out by supernatural forces. Their story made the news, was turned into a book, and then made into a movie, in 1979.
It’s hard to imagine now that a family claiming to have encountered the devil in their basement could cause such a massive fuss, but I’m not here to interrogate the truth of their statement. What I am here to do, though, is to watch all of the Amityville Horror movies made to date, »
It seems Paramount can’t get enough of showcasing the beautiful alien vistas in Christopher Nolan’s upcoming space-set adventure, Interstellar; and quite frankly, neither can we. In these most recent images, the studio has provided us with an up-close and personal look at Matthew McConaughey’s Cooper, along with a rather beautiful banner poster.
As expected, the overall aesthetic of Interstellar looks, well, stellar, with chilling icy landscapes being the main attraction. Those inhospitable landscapes in particular will play a crucial role in the film’s plot, with humanity venturing out into the far reaches of space in order to find a surrogate home — as it happens, Nolan’s vision of Earth in the no-so-distant future is one ravaged by food shortages and climate change.
Here’s a brief description of the challenge facing McConaughey and Co., provided by the director himself.
“It’s a very classically constructed movie, »
- Michael Briers
Sweden's Hoyte Van Hoytema has become to go-to replacement cinematographer for a few prestigious filmmakers, including Spike Jonze, Christopher Nolan, and now, Sam Mendes. After losing his Dp Roger Deakins, Mendes has chosen Hoytema to shoot the 24th installment of the Bond Series.
Hoytema is best know for shooting the Swedish horror film Let The Right One In. Later he stepped in for Lance Acord on Spike Jonze's Her and also for Wally Pfister on Christopher Nolan's upcoming Interstellar.
Filling Deadkins' shoes is going to take a lot of work, even for someone as talented as Hoytema. One thing we've heard is that Bond 24 will be shoot on film, which differs from the way Deadkins shot Skyfall, on an Arri Alexa.
- Laura Frances
Since lensing 2008’s “Let The Right One In” for Tomas Alfredson, cinematographer Hoyte van Hoytema (who we've had our eye on since we put him in our On The Rise feature in 2010) has become a popular choice for auteurs when their usual director of photography is unavailable. Hoytema stepped in for frequent Spike Jonze collaborator Lance Acord on “Her” and he subbed in for cinematographer-turned-director Wally Pfister on Christopher Nolan’s upcoming “Interstellar.” As if replacing those two great DPs wasn’t tough enough, the “Tinker Tailor Soldier Spy” cinematographer is going to have to fill some very big and iconic shoes for his next gig. We found out earlier this year that the amazing and legendary Roger Deakins would not be returning to work on “Bond 24” with Sam Mendes, and now HitFix is reporting that Hoytema will be filling in instead. Interestingly, there’s a possibility – not »
- Cain Rodriguez
Deakins replaced with Nolan's new favourite shooter. With celebrated cinematographer Roger Deakins not returning to the Bond franchise after his fantastic work on Skyfall, director Sam Mendes has been on the search for a replacement. So it makes a lot of sense that he's settled on the same name as Christopher Nolan, whose next movie Interstellar required him to replace his own collaborator, Wally Pfister. »
It was incredibly disappointing to hear that cinematographer Roger Deakins would not be returning for Bond 24 after doing such a stunning job on Skyfall. However, as production on the next Bond installment is poised to get underway in December, director Sam Mendes has now settled on Deakins’ replacement, and it’s an excellent choice. In Contention reports that Hoyte van Hoytema will be the cinematographer on Bond 24, marking yet another fantastic notch in what’s becoming a heck of a run in the director of photography’s career. The Dutch-Swedish cinematographer first came to prominence for shooting the original Let the Right One In, going on to do equally arresting work on films like Tinker, Tailor, Soldier, Spy and last year’s Her. Most recently, though, he nabbed his most high profile film to date as Christopher Nolan hand-picked him to replace his longtime collaborator Wally Pfister on the upcoming Interstellar. »
- Adam Chitwood
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