8 items from 2013
Bruce Beresford and John Stoddart“I was always interested in drawing and painting as a child,” states John Stoddart. "I grew up in Sydney and there wasn’t much theatre at that time. There were no film schools so architecture was the closest thing with an artistic background that I could find. I don’t think I was aware of the theatre until I came to London. I had been to some plays in Sydney but not many. I became more interested during the 1960s and I had no knowledge of opera which I specialized in the theatre.” The trip to England led to an encounter with another Sydney University graduate who would become a frequent collaborator. “I worked with various architects for five years. I was able to branch out on my own. »
Trevor Hogg chats with Peter James about the international success of Australian cinematographers, an early collaboration with Peter Weir and a long-standing creative partnership with Bruce Beresford...
“We’re competitive and cinematographers in Australia have to do a bit of everything,” observes Peter James as to why his homeland has produced a number of Oscar winners such as Dean Semler (Dances with Wolves), John Seale (The English Patient) and Russell Boyd (Master and Commander). “The big Hollywood system and even in London with the bigger union studios, there was always a speciality thing where they only worked on feature films or television or documentaries or commercials.” During the 1970s a cinematic revolution occurred which lay the foundation for the Australian film industry. “The government realized that it wanted to have a film industry and some presence in the international world; they put quite a bit of money into backing films, »
Rutger Hauer’s career has seen him star in an eclectic mix of both films and roles. He’s done art house, independent, blockbusters, and low grade b(z)movies. He’s plied his trade in Hollywood, and European cinema and filmed all over the world. He’s done just about every genre. He’s the leading man, he’s the villain. He’s the hero, the anti-hero and he’s played a vampire more times than most people have had hot dinners. There is always one consistent, which is that Rutger Hauer is cool. He can steal a good movie from under the nose of established stars, most infamously in Blade Runner, and also out shining Sylvester Stallone in Nighthawks. He can also elevate a lot of the B-grade material he’s appeared in. »
- Flickering Myth
The line where art meets commerce has always been a grey one . even when it is reliant on the public purse. The issue flared in 2011 when government proposals took aim at the regulations which limit foreign actors working on local productions. And it flared again last year when, for the first time, a number of local films employed foreign cinematographers.
The appointments created a ripple of unease among local cinematographers who are regularly lauded as being amongst the world.s best. Of the seven Australians who have won Academy Awards for their work behind the camera, five are still active in the industry: Dean Semler, John Seale, Andrew Lesnie, Russell Boyd and Dion Beebe. A new breed are also making the leap into high-end features such as Ross Emery (The Wolverine), Simon Duggan (The Great Gatsby) and Jules O.Loughlin (Sanctum), just to name a few.
So it came as »
- Brendan Swift
Directed by Brian Trenchard-Smith
The 1980′s saw a big boom in the sport of BMX racing, and the bikes began appearing in several Hollywood and non-Hollywood productions. Long before Rad, and a year before E.T. put BMX bikes on the world stage, Ozploitation legend Brian Trenchard-Smith (Turkey Shoot, Dead End Drive-In), directed BMX Bandits – a breezy, action-packed adventure most famous for employing Nicole Kidman in her very first movie role. The film has grown to become a considerable cult hit in many circles and with reason. Bandits is an irresistible time capsule, showing what the sport, and bikes, were once like. These were the days when you could actually sit on a BMX bike seat and didn’t need to rely on your feet to break. And while the Kuwahara was made famous thanks to Spielberg’s ’84 masterpiece, Bandits featured a blue Mongoose, »
Last night I posted the Best Shot group roundup of The Talented Mr Ripley, but not my own choice. Why? Well every time I began I wanted to start over. If this blogpost were a passport I would have been defacing my own photo. I chose eight shots - at least -- but each one seemed to beg for a wholly different article to accompany it. Which is not to say that the film is any more gorgeously shot than others we've covered in this series (though John Seale easily deserved the best Cinematography nomination he was denied) but that it is several films at once. Which is why I've titled this post with its less condensed but truer title. Those sixteen extra shuffling adjectives in the brilliant title design say it all.
Not actual light bulbs but figurative ones (we'll get to the actual ones in a »
- NATHANIEL R
Trevor Hogg chats with Academy Award nominated cinematographer Stephen Goldblatt about being a teenage photojournalist, working with director Mike Nichols, the Oscars and the current state of filmmaking...
My sister is a painter and architect, my father was a doctor but he always wanted to be a musician, and my mother was interested in painting. I was surrounded by art in my childhood,” states Stephen Goldblatt who was born in Johannesburg, South Africa and moved with his family to the United Kingdom at the age of seven; four years later he became obsessed with photography and later as a teenager Goldblatt was hired to work for London Life Magazine owned by the Sunday Times. “I was working as a photographer when I was 18. The thing about old style film photojournalism was that you were telling a story in still pictures and not being digital, you tended to try to do »
Last Sunday, Roger Deakins won the American Society of Cinematographers award for his work on “Skyfall.” That marked his third victory in 11 nominations. He picked up the prize with his first bid in 1994 for “The Shawshank Redemption” and won again on nod number five in 2001 for “The Man Who Wasn’t There." And last year, he was feted with the lifetime achievement award from the Asc. -Insertgroups:8- Yet, all this love from his brethren hasn't done Deakins any good at the Oscars. He has contended for Best Cinematography nine times, never winning. Will his luck change this year? As Deakins knows all too well, the Asc awards are not the most reliable precursor prize. In the 26-year history of these kudos, only 10 winners have gone on to repeat at the Oscars: Dean Semler, “Dances with Wolves” (1990) John Toll, “Braveheart” (1995) John Seale, “The English Patient&rdqu »
8 items from 2013
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