9 items from 2015
As Star Wars Anthology: Rogue One prepares to begin shooting this summer more and more details begin to surface. We've recently learned director Gareth Edwards and cinematographer Greig Fraser are using the Arri's new Alexa 65 and that the film will be "darker and grittier" than any other Star Wars film to date, aiming to be much like an old school war film, a la Hamburger Hill. Now we get word of a new cast member added to the mix. Variety reports Forest Whitaker will be joining a cast led by Felicity Jones, co-starring with Diego Luna, Riz Ahmed and Ben Mendelsohn. Mendelsohn is said to be playing the film's lead antagonist while source tell Variety, Ahmed and Luna also play Alliance fighters. Whitaker's role is unknown at this time. The film centers on a band of resistance fighters who unite for a mission to steal the Death Star plans. The »
- Brad Brevet
There's a lot of talk about the digital campfire concerning the Arri's new Alexa 65 camera, which combines the proven image quality, dynamic range, and usability of the Alexa with a much larger 65mm equivalent sensor. Emmanuel Lubezki used it to shoot Alejandro Gonzalez Inarritu's The Revenant, Robert Elswit used the camera for the much-talked-about underwater sequences in Mission: Impossible - Rogue Nation and it's being used as I type to film Captain America: Civil War. Well, now it's heading to a galaxy far, far away. The Hollywood Reporter brings word cinematographer Greig Fraser (Zero Dark Thirty) will be using the camera to lens Star Wars Anthology: Rogue One for director Gareth Edwards, delivering the latest in premium, large-format, 6K resolution in digital filmmaking. Meanwhile, Rian Johnson, who will be filming Star Wars: Episode VIII revealed on Twitter he'll be using 35mm for that shoot, though he did consider 65mm. This »
- Brad Brevet
With J.J. Abrams shooting "Star Wars: The Force Awakens" on 35mm film, just like the original trilogy, it has begged the question - will the subsequent films also take that approach?
Filmmaker Rian Johnson, who will helm "Star Wars: Episode VIII," has answered that question on Twitter this week when someone recently asked him about the possibility of shooting on larger scale 65mm. Johnson replied: "I really wanted to, but for some specific logistical reasons we're sticking with 35mm."
In between the two films comes Gareth Edwards' "Star Wars Anthology: Rogue One" and word from the trades is that cinematographer Greig Fraser will shoot some sequences (how many is unclear) with the new 6K resolution Arri Alexa 65 camera.
The talk follows in the wake of a photo a few days ago on social media that suggests C-3Po sports a red arm in the new films. In other "Star Wars" news this week, »
- Garth Franklin
Gareth Edwards was on stage at Star Wars Celebration this morning, and dropped the first official details on the plot of Star Wars: Rogue One, what role Felicity Jones is playing, the creative crew, and Tons more. Come inside to check it out plus the first concept art from the movie.
The final day of Star Wars Celebration started off with a bang, when Gareth Edwards, the director of the first Stars Wars standalone film, took to the stage to give eager fans the first official details on the upcoming film. They even showed a brief teaser for the film (though it hasn't officially made its way online yet), in which the official title card for the film was shown.
Apparently, these standalone movies will fall under the "Star Wars Anthology" banner, to keep them all grouped together, but noticeably separate from the Episodes that will be releasing. But »
- email@example.com (Jordan Maison)
The striking landscape of remote Australia frames the story of Chook, a ten-year-old boy curious to discover his identity, on the run with his father, in Glendyn Ivin’s Last Ride. Ivin and cinematographer Greig Fraser’s widescreen location photography is stunning, it would be difficult for the most imaginative set designer or CGI wizard in Hollywood to conjure this otherworldly scenery, yet the actors deliver nuanced performances, the intimacy of their emotional struggle never swallowed by the majesty of their surroundings.>> - Stela Jelincic »
In Foxcatcher, there’s a captivating scene where Steve Carell’s character, millionaire John du Pont, ushers a stable of horses out into a grey, autumnal morning. It’s a moment given a luminous, magical quality by cinematographer Greig Fraser, whose other recent film credits include Let Me In and Zero Dark Thirty.
The Gambler, the new drama written by William Monahan (The Departed, Kingdom Of Heaven) and directed by Rupert Wyatt (The Escapist, Rise Of The Planet Of The Apes) represented its own set of unique challenges. One of them was to bring tension and visual excitement to a story that frequently sees its wayward protagonist Jim (Mark Wahlberg) frittering his money away at a blackjack table or lecturing a theatre full of distracted college students.
It’s testament to »
Director: Rupert Wyatt
Run Time: 111 minutes
Synopsis: The death of a beloved grandfather sends a literature professor with a high-stake gambling addiction on a path of self-loathing and destruction as he counter-balances mounting gaming debts with borrowed money from a number of dangerous loan sharks.
Rise Of The Planet Of The Apes’s Rupert Wyatt shows viewers a glimpse into the havoc of an entitled and self-indulgent whiner hell-bent on self-destruction in his latest film The Gambler that stars Mark Wahlberg in the lead role.
Rebooted from James Toback’s original 1974 film starring James Caan, Wyatt’s direction and William Monahan’s screenplay are decidedly different from their predecessors: not only in comparable terms (the protagonist is still a gambling addicted literature professor and disgraced scion of a wealthy »
- Sacha Hall
Last year a tie resulted in seven nominees instead of five, but this year the American Society of Cinematographers (Asc) deliver five nominees for their 2015 award for the best cinematography in 2014's features. Among the nominees are the expected in Emmanuel Lubezki for Birdman and Dick Pope for his painterly Mr. Turner, but from there I can't say I was certain any one of these DPs would be nominated. Oscar Faura's work on The Imitation Game was impressive for the way it stuck strictly with Benedict Cumberbatch's perspective as Alan Turing and I love seeing Robert D. Yeoman getting some recognition for Wes Anderson's The Grand Budapest Hotel, but I have to say, I can't support the Roger Deakins nomination for his work on Angelina Jolie's Unbroken as pretty as some moments may be and as raw as the several torture scenes may be, I just »
- Brad Brevet
The on-going film vs. digital debate seemed to reach a bit of a fever pitch in 2014. A lot of that had to do with the fight by filmmakers like Martin Scorsese, Quentin Tarantino and Christopher Nolan to maintain Kodak's production of film stock. It was a fight they won in August, while the industry at large would surely prefer to march headlong into the (more affordable) future of ones and zeroes. But this "debate" has remained a somewhat nuanced one, even as the separate passionate sides have presented it as cut and dried. Archivally, with the expanded shelf life of celluloid and in the face of file type obsolescence, maintaining the production of film stock is absolutely crucial. Aesthetically, it will always come down to preference, of course. But beyond even that, digital encroachment has meant more opportunity for young artists to break into the form, and that's the position »
- Kristopher Tapley
9 items from 2015
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