7 items from 2010
Cinematography and its significance is an aspect of film that is usually overlooked by your average movie goer. Often times when a director is know for consistently maintaining a certain style it is due in part to the cinematographers contribution. Like film editors, cinematographers take a back seat to directors when it comes to the public’s perception of each of their significances. Although it is ultimately the directors medium, the cinematographer guides the tone and feel of the film by controlling the aesthetics. This is of course excluding art direction, wardrobe and set design. A beautifully constructed sequence arrests your attention with such command and power, while still displaying a subtle eloquence. This display of the mastery of film is often referred to as something “cinematic”. In that moment it is film declaring “I am what I am.” The cinematographer plays an instrumental role is deciding what that declaration is going to convey. »
- Jordan Collins
American Cinematographer – the official magazine of the American Society of Cinematographers – just published a ranking of the best shot films for the 1998 to 2008 decade, and Amélie tops the list.
I initially thought the selections were chosen specifically by members of the Asc, but I learned that it was actually an open process; in short, the magazine asked its subscribers all over the world to nominate 10 films released between 1998 and 2008, that they believed had the best cinematography; the 50 most popular choices were then posted on the Asc website, with the rest of the public free to vote/rank the 50 finalists. Reportedly, more than 17,000 people around the world participated.
And, as already stated, Amélie was ranked in the top spot most consistently. I haven’t watched Amélie in years, but I’d certainly throw it up there on my list of one of the best shot films from 1998 to 2008. Will it be my #1? I don’t know. »
London -- Nick Whitfield's "Skeletons" walked away with this year's Michael Powell Award for best new British feature at a ceremony held Saturday evening at the Edinburgh International Film Festival ahead of Sunday night's closing ceremony and gala screening.
At an awards ceremony prior to the closing gala for "Third Star," organizers also dished out the best performance in a British feature to David Thewlis for his turn in "Mr Nice."
Best international feature nod went to "The Dry Land" directed by Ryan Piers Willians while Gareth Edwards picked up this year's new directors award. Laura Poitras secured the best documentary nod for "The Oath."
- By Stuart Kemp
Production begins this week in Connecticut on the psychological thriller We Need To Talk About Kevin, which is being directed by acclaimed filmmaker Lynne Ramsay (Ratcatcher, Morvern Callar) and produced by Jennifer Fox (Michael Clayton, The Informant!), Luc Roeg (Mr. Nice) and Robert Salerno (21 Grams). We Need To Talk About Kevin was written by Ramsay and Rory Kinnear based on the novel by Lionel Shriver. The film stars Tilda Swinton, John C. Reilly and Ezra Miller. Presented by BBC Films and the UK Film Council in association with Footprint Investments Llp, Caemhan Partnership Llp and Lipsync Productions, the film is an Independent / Jennifer Fox production in association with Artina Films and Forward Films. The announcement was made today by Independent, who also holds the international rights to the film.
Part three arrives and it comes with 20 more films to keep an eye on this year as potential Oscar candidates. If you missed parts one and two, the links for both of those can be found on the bottom of page two of this post.
With today's list of films it brings the total previewed thus far to 60 early Oscar contending films and already one reader has sent in a potential new candidate I am looking into further to see if the list again will grow from it's current total of 73 films to 74 and what may amount to a fifth film for Helen Mirren. With no films this year for Meryl Streep, it looks like Mirren is stacking the deck.
I will again remind you, this is merely a guide to potential nominees, not a guarantee, not a lock, but simply films that could potentially go on to be remembered at the year-end Oscar race. »
- Brad Brevet
It was on the set of Charlotte's Web that Australian film stills photographer Lisa Tomasetti became friends with Oscar-nominated cinematographer Seamus McGarvey, whose film credits include Atonement, The Hours and last year's Nowhere Boy. The two kept in touch and collaborated on a project called Burnt Memory, an exhibition of large-scale portraits by Tomasetti which she will present in Melbourne and Sydney, early May this year. The cinematic quality evident in the exhibition and much of Tomasetti's art has been influenced by her work over the past eleven years as a film stills photographer on titles such as Shine and Star Wars Episode Two. »
Chicago – Sometimes catalog titles are pulled from the vaults and given the HD upgrade for tie-in reasons that are obvious, but why now for Joe Wright’s “Pride & Prejudice” and “Atonement”? Is it because “Atonement” breakthrough star Saoirse Ronan is appearing in “The Lovely Bones”? Did they sense thematic tie-in with the same Tuesday’s release of “Bright Star”? Whatever the reason, these are two underrated dramas, a pair of the most luscious period pieces of the last ten years and both look remarkable in 1080p.
Blu-Ray Rating: 4.5/5.0
Joe Wright may have stumbled a bit with “The Soloist,” but his first two directorial efforts are both well worth the time, a good movie followed by a great one. The good, “Pride & Prejudice” may fall a little short largely due to superior versions of this often-told story but it features some of Keira Knightley’s best career work and amazing technical »
- firstname.lastname@example.org (Adam Fendelman)
7 items from 2010
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