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Shot Counter: Max vs Furiosa in Fury Road

115 shots, 151 seconds, 1 Oscar, and a masterclass in action editing.

If you listened to this week’s Shot by Shot podcast, you heard myself and Geoff Todd discussing the cinematography of George Miller’s Mad Max: Fury Road, shot by John Seale. But in the midst of that conversation we touched for a moment on the film’s editing, which was done by Margaret Sixel, who for her efforts was awarded an Oscar. Particularly we were talking about the fight scene that occurs between Max and Furiosa the first time they encounter one another, her taking a water break with the wives after jacking a truck, and he recently-escaped from his duties as a blood bag but still muzzled and chained to Nux.

Geoff mentioned that over the course of this fight, which lasts less than three minutes of screen-time, there are more than 100 shots flickering past. He pointed out, and rightfully so I think, that
See full article at FilmSchoolRejects »

The Perfect Shots of ‘Mad Max: Fury Road’

A companion piece to this week’s Shot by Shot podcast.

For this week’s episode of Shot by Shot, the official cinematography podcast of One Perfect Shot and Film School Rejects, Ops founder Geoff Todd and myself selected easily one of the most popular films of the last few years, as well as one of the outright greatest action films of all-time: George Miller’s Mad Max: Fury Road, shot by legendary cinematographer John Seale, who came out of retirement just to work on this picture.

As usual, both Geoff and I have chosen three shots or types of shots from the film that we use as the basis for an in-depth discussion about the particular brilliance of Fury Road, which is an adrenaline-fueled nightmare from start to finish that simultaneously manages to be a rich drama full of heart and hope. This balance is only one element of the film to which cinematography lends itself
See full article at FilmSchoolRejects »

Witness the Evolution of Cinematography with Compilation of Oscar Winners

This past weekend, the American Society of Cinematographers awarded Greig Fraser for his contribution to Lion as last year’s greatest accomplishment in the field. Of course, his achievement was just a small sampling of the fantastic work from directors of photography, but it did give us a stronger hint at what may be the winner on Oscar night. Ahead of the ceremony, we have a new video compilation that honors all the past winners in the category at the Academy Awards

Created by Burger Fiction, it spans the stunning silent landmark Sunrise: A Song of Two Humans all the way up to the end of Emmanuel Lubezki‘s three-peat win for The Revenant. Aside from the advancements in color and aspect ration, it’s a thrill to see some of cinema’s most iconic shots side-by-side. However, the best way to experience the evolution of the craft is by
See full article at The Film Stage »

Derin Seale on making 'The Eleven O'Clock' with Josh Lawson and Damon Herriman

Damon Herriman and Josh Lawson in 'The Eleven O'Clock'..

One of the highlights of this year.s Flickerfest is The Eleven O.Clock, a comedy written by and starring Josh Lawson, alongside Damon Herriman.

The short follows a delusional patient of a psychiatrist who believes he is actually the psychiatrist. As they both attempt to treat each other, the session spirals increasingly out of control. Alyssa McClelland also stars..

Flickerfest marks the film.s Aussie debut, having already screened at the 2016 La Shorts Fest, where it took out Best Comedy, as well as Valladolid International Film Festival and Toronto Short Film Festival.

With the film only just starting its run, director Derin Seale told If the success so far was unexpected.

.I made it for my mum, really; it.s all a bit surprising that people want to watch it,. he laughs.

Seale is a long-time friend of both Lawson and Herriman,
See full article at IF.com.au »

January 10th Blu-ray & DVD Releases Include Under The Shadow, Dead Of Winter

  • DailyDead
For the second week of January, horror and sci-fi fans have another relatively quiet week of home entertainment releases to look forward to this Tuesday. Scream Factory has given the underrated thriller Dead of Winter an HD overhaul on their upcoming Blu-ray, and Severin Films is resurrecting the cult classic The Survivor with a brand new 2K transfer.

Other releases for January 10th include Under the Shadow, B.C. Butcher, The Harrow, The Summoning, and the double feature Blu-ray of Crystal Lake Memories and Never Sleep Again.

Dead of Winter (Scream Factory, Blu-ray)

Katie McGovern will do anything to make it as an actress…even if it kills her.

Academy Award winner Mary Steenburgen* and Roddy McDowell star in the chilling Dead Of Winter. When struggling actress Katie (Steenburgen) is offered the opportunity to replace an actress who has suffered an emotional breakdown during a film shoot, she jumps at
See full article at DailyDead »

Mad Max: what might we see in the sequels?

Mark Harrison Nov 16, 2016

Where next for the Mad Max movies? We consider the options, as George Miller looks to top Mad Max: Fury Road...

This feature contains spoilers for Mad Max: Fury Road.

“Where must we go, we who wander the wasteland, in search of our better selves?”

- The First History Man

When Mad Max: Fury Road came to cinemas last year, it was the culmination of a 15 year development process that encompassed recasting, budget problems, and a location change to a whole different continent. But out of the lengthy and troubled production came one of 2015's very best films, which earned universally positive reviews from critics and was nominated for ten Academy Awards, of which it won six.

Speculation about the next Mad Max movie has swirled ever since, especially as director George Miller has mentioned that they generated enough material making Fury Road to make two more movies,
See full article at Den of Geek »

Damian Trewhella pinpoints member events as key to Aacta's game plan

Proof 20th anniversary screening and Q&A.

Growing Aacta's year-round member events program is a key pillar of the organisation's five-year plan, CEO Damian Trewhella said at the AFI-Aacta Agm on Tuesday night..

Guests who have participated in Aacta events over the last couple of years include Andrew Knight, Jeremy Sims, Jan Chapman, Tony Ayres, Joel Edgerton, Richard Roxburgh, Deborah Mailman, Penny Chapman, Ariel Kleiman, Megan Riakos and Ryan Griffen.

.Our member events are providing a platform for the public and the industry to come together to watch, discuss and share insights into great Australian productions and the creative process, and we.re pleased to have expanded our program to include television premieres on the big screen, including our upcoming screening of Foxtel.s Secret City", Trewhella said. .

Other upcoming events include next month.s Directing The Dressmaker Vivid Sydney event with Jocelyn Moorhouse in conversation with Gillian Armstrong and Margaret Pomeranz,
See full article at IF.com.au »

Mad Max Fury Road – Midnights This Weekend at The Tivoli! What a Lovely Day!

“If I’m gonna die, I’m gonna die historic on the Fury Road!”

Mad Max Fury Road, the best movie of the 21st century so far, screens midnights this weekend (April 22nd and 23rd) at The Tivoli Theater as part of their ‘Reel Late at The Tivoli’ Midnight Series.

Thirty years after writer/director George Miller led us all to believe his Mad Max franchise had run out of gas with Mad Max Beyond Thunderdome, he resurrected the Road Warrior with a larger budget, a bigger crew, and more vehicles to destroy. Well worth the wait, Mad Max Fury Road, released last May, was pure dynamite, with enough wit and ingenuity to put all recent action films to shame. It richly deserved the six Oscars that it won and should have won the other four it was nominated for (especially Best Picture – Spotlight?!?!?!…..puh…leeeez!)

Not a sequel nor prequel nor reboot,
See full article at WeAreMovieGeeks.com »

Watch Extensive Cinematography Breakdowns For ‘Hail, Caesar!,’ ‘The Hateful Eight,’ ‘Fury Road’ & More

If supercuts featuring a director and — by extension — cinematographer’s predilection for a specific color or camera movement have watered down the field of video essays, today brings a series that reinstates an informative, technical approach to better understand what goes into crafting an image with light. Cinematography Database, coming from Dp Matt Workman, resembles something closer to a visual podcast as he takes anywhere from 30 minutes to over an hour to break down each feature.

With a first batch including Robert Richardson‘s The Hateful Eight, Roger Deakins‘ Hail, Caesar!, John Seale‘s Mad Max: Fury Road, Emmanuel Lubezki‘s The Revenant, Matthew Libatique‘s Straight Outta Compton, and Dariusz Wolski‘s The Martian, he uses mostly behind-the-scenes stills to dissect the equipment and lighting techniques at play in each feature. While the series may not widely appeal to those looking to dive into how cinematography conveys the themes of a film,
See full article at The Film Stage »

Visual Index: Best Shots from "Witness"

Hit Me With Your Best Shot revisited Witness (1985) this week to celebrate the continuing excellence of the Australian cinematographer John Seale. It was such an unexpected treat to see him doing ambitious ravishing and inspired work as a septugenarian (Mad Max Fury Road) that rivals anything he did in his 30s (Careful He Might Hear You), 40s (Rain Man) or 50s (The English Patient, The Talented Mr Ripley) and though he didn't win a second Oscar he did win our renewed ecstatic fandom. Seale's earliest Oscar nomination came for his work lensing the gorgeous moving cop drama Witness (1985). Here are the results of our "Best Shot" challenge from the participants. The more eyeballs the merrier so join us one of these weeks alright?

Witness (1985)

Directed by Peter Weir. Shot by John Seale

Click on any of the 12 images to be directed to the corresponding articles

(Nominated for 8 Academy Awards including
See full article at FilmExperience »

The Act of Seeing in "Witness"

Peter Weir's Oscar nominated Witness (1985) was not chosen for our Best Shot series for its title, though that's as apt a logline for this series as any. The title refers to young Samuel Lapp (Lukas Hass, in a sterling child performance) but it neatly doubles as a surprisingly hushed command to the audience out there in the dark.

Lukas Haas figures it out at the police station

The story may spring from an abrupt violent murder in a public bathroom which Samuel sees, wide-eyed, from a bathroom stall but there's very little about the hit drama that is as in your face as its story beats and genre might otherwise suggest. From its earliest longshot of Amish villagers coming into view above a field of grass, to its sublimely casual farewell of its last shot (with two men crossing paths outside the home of the woman they both love
See full article at FilmExperience »

Supercut Highlights The Visceral, Oscar Winning Sound In 'Mad Max: Fury Road'

There’s plenty to love about George Miller’s masterful “Mad Max: Fury Road,” but the film’s captivating visual presentation often takes precedent. A movie printed on storyboards instead of a fully-formed script, it’s an exhilarating, eye-popping spectacle in every sense of the word — from John Seale’s amazing cinematography, to Jacinta Leong and Shira Hockman’s massively-inspired art direction, to the radiant orange and teal-heavy color palette, to the incredible stunt work and motorcar-fueled mayhem. With all that visual stimulation, it can be easy to forget how much Mark A. Mangini and David White’s impeccable, Oscar winning sound editing also played into the never-ending excitement of Miller’s latest. So, thankfully, Vimeo user Zackery Ramos-Taylor is here to give them their full due (beyond, you know, their Oscars) with his latest supercut, “Hearing Mad Max: Fury Road.” Read More: Watch: Video Essay Explores The Rhythm Of
See full article at The Playlist »

Mad Max to Fury Road: George Miller and David Stratton in conversation

George Miller and David Stratton in conversation.

David Stratton and George Miller had a wide-ranging chat at the Chauvel last night as guests of the French Film Festival, of which both are patrons.

Miller described growing up in Chinchilla, where he fell in love with movies during the saturday matinees at the local cinema, which was his "secular cathedral".

He also praised Stratton's tenure at the Sydney Film Festival and its influence on a generation of Australian filmmakers..

Miller's short, Violence in the Cinema, Part 1, played at the festival in 1971, as part of the Benson and Hedges awards.

The cigarette manufacturer was the only company willing to sponsor a festival for Australian shorts, joked Stratton, who also queried the title of Miller's short - "there was never a part two".

Violence in the Cinema starred Arthur Dignam, and was programmed before a film by Vittoria de Sica. Miller recalled his
See full article at IF.com.au »

John Seale in conversation as part of Acs awards

The 45th Acs Annual National Awards for Cinematography will be held in Adelaide on March 30.

The Acs will be hosting a suite of satellite events from April 29 to May 2..

They include an expo with companies including Fujifilm-Fujinon, Silvertrak, Canon, Blackmagic, Lemac, Rosco, Miller, Panasonic, Sun Studios, Videocraft, Ignite Digi, Harmer laser cut foam (Form Cut), Picture Hire and Psycholites.

Other events include a Chinese banquet for expo attendees at Adelaide's CitiZen restaraunt, exhibitor presentations, an Acs tour of the iconic Adelaide Oval, a Meet The Nominees session, a screening of documentary Dean Semler.s Road to Hollywood, the 2016 Agm, a McLaren Vale winery tour and lunch, and a panel discussion featuring John Seale Acs Asc and David Burr Acs.

Bookings can be made here:

www.acsshop.com.au/collections/acs-events-bookings
See full article at IF.com.au »

Muriels Roundup

Spotlight more or less ran the table at the Independent Spirit Awards last Saturday night in Santa Monica, picking up honors for Best Feature Film, Best Director, Best Screenplay and Best Editing, as well as the Robert Altman Award for best ensemble cast. Brie Larson picked up yet another trophy for her great performance in Room, and Son of Saul, as expected, won for Best International Film. But this year the Independent Spirit Awards weren’t just a liquored-up predictor of what would happen the following night at the Dolby Theater in Hollywood. Whether or not Spirit voters took it as their charge to pointedly honor the diversity that was so lacking in the roster of Oscar nominees this year, few could find fault when both Abraham Attah (Best Male Lead) and Idris Alba (Best Supporting Male) for Beasts of No Nation, and especially Mya Taylor from Tangerine, took to
See full article at Trailers from Hell »

Mad Max: Fury Road, Spotlight and The Revenant were all shot on...

Mad Max: Fury Road director, George Miller and crew.

.

Arri digital and film cameras played a crucial role in the creation of many of the films that dominated this year's Academy Awards.

Best Picture honours went to Spotlight, directed by Thomas McCarthy and lensed by cinematographer Masanobu Takayanagi on Alexa Xt..

The drama, based on the true story of the Pulitzer Prize-winning Boston Globe investigation, also won for Original Screenplay.

Following victories at the Asc and BAFTA Awards, Emmanuel 'Chivo' Lubezki Asc, AMC won his third consecutive Oscar for The Revenant — an unprecedented achievement in the Best Cinematography category..

Lubezki won last year for Birdman and in 2014 for Gravity.

The Revenant used Alexa Xt, Alexa M and Master Primes, as well as Alexa 65 cameras and Prime 65 lenses for selected sequences..

This is the fifth year in a row that the Best Cinematography winner relied on an Alexa camera..

The Revenant
See full article at IF.com.au »

Emmanuel ‘Chivo’ Lubezki on His Record-Breaking Oscar Win & Why the Speeches Never Get Easier

Emmanuel ‘Chivo’ Lubezki on His Record-Breaking Oscar Win & Why the Speeches Never Get Easier
When Emmanuel “Chivo” Lubezki won the cinematography Oscar for his work on “The Revenant” on Sunday night — his third consecutive in the category — he was tempted to make a joke in his speech. “I wanted to say, ‘To my family and friends: Lower your expectations.’ ”

He’s only somewhat kidding. It’s the morning after his historic win for “The Revenant,” which also took home honors for director Alejandro G. Inarritu and star Leonardo DiCaprio, and Lubezki is aware he’s unlikely to ever top this year: No director of photography before him has won three consecutive Academy Awards. “I am the luckiest cinematographer in the world,” notes the 51-year-old, Mexico City-born Lubezki. “My daughters think that going to the Oscars is a normal thing that happens every year, and it’s not. I might never come back to the Oscars. I might never get another nomination again.”

Guido Vitti
See full article at Variety - Film News »

'Mad Max: Fury Road' Wins Big at Oscars 2016

'Mad Max: Fury Road' Wins Big at Oscars 2016
Shortly after Mad Max: Fury Road's release in May, many fans started wondering if this blockbuster would have any shot at winning Best Picture at The 88th Annual Academy Awards, which were handed out last night. As it turns out, Mad Max: Fury Road did end up taking home the most Oscars, winning six, but it was largely shut out of the major categories, such as Best Picture and Best Director, for George Miller's work behind the camera. Mad Max: Fury Road was actually one of just three movies that ended up taking home multiple awards last night.

Mad Max: Fury Road's wins were largely in technical categories, taking home Oscars for Best Costume Design (Jenny Bevan), Best Production Design (Colin Gibson; Katie Sharrock, Lisa Thompson), Best Makeup and Hairstyling (Lesley Vanderwalt, Damian Martin, Elka Wardega), Best Film Editing (Margaret Sixel), Best Sound Editing (Mark Mangini, David White
See full article at MovieWeb »

‘Mad Max: Fury Road’ Gives Australia Biggest Ever Oscar Haul

‘Mad Max: Fury Road’ Gives Australia Biggest Ever Oscar Haul
Australian is reveling in the multiple Oscar award successes for “Mad Max: Fury Road.”

On Sunday night the George Miller-directed post-apocalyptic sequel collected six of the technical awards on offer, rewarding eight Australians.

The previous best total for Australia was six Oscars in four categories in 1996, when Miller’s “Babe” and Mel Gibson’s “Braveheart” amassed hauls.

Australian winners in the best production design category were Colin Gibson and Lisa Thompson.

“It never ceases to annoy me how many people it takes to make me look competent,” said Gibson in his on stage acceptance speech. “To get one of these, you’ve got an idea of the multitudes of Australians, New Zealanders, Brits, Americans, South Africans, Namibians who all came together under George’s vision to bring you a tale about a man with mental health issues, an amputee amazon and five runaway sex slaves. So I’d like
See full article at Variety - Film News »

Mad Max: Fury Road achieves record haul at Oscars

  • IF.com.au
Mad Max: Fury Road has become the most successful Australian film at the Oscars, taking home six statuettes from 10 nominations.

The record haul saw the film, directed by George Miller, overtake The Piano's previous mark of three Oscars in 1993.

The road rage epic took home awards for Production design (Colin Gibson and Lisa Thompson), Film editing (Margaret Sixel), Costume Design (Jenny Beavan), Sound mixing (Ben Osmo),Sound editing (David White) and Make-up and Hairstyling (Lesley Vanderwalt, Damian Martin and Elka Wardega.

Despite the success, Miller missed out on a Best Director's nod with The Revenant's Alejandro González Iñárritu winning his second consecutive award.

Australian cinematographer, John Seale, also missed out to The Revenant's Emmanuel Lubezki.

The six oscars follows the 10 Aactas that went Mad Max: Fury Road in December last year.

Screen Producers Australia chief executive, Matthew Deaner, said Australia was well represented at this year.s Academy Awards with fifteen nominations,
See full article at IF.com.au »
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