19 items from 2015
It seems like we say it every year, but the Oscar race for best cinematography is as heated as it has ever been this season.
Most eyes, certainly, are on Emmanuel Lubezki. The reigning champ joined a very exclusive group of back-to-back winners in the category upon claiming the prize for “Birdman” last year (He also won for “Gravity”). With Alejandro G. Iñárritu’s best picture follow-up “The Revenant,” Lubezki shot on brand new Arri Alexa 65 cameras, even freezing a few of them in Alberta, Canada, while using only natural light. The stitching technique that was employed to make “Birdman” appear as one unbroken take was used in a number of sequences as well. No one has even seen the film and you’d be forgiven for thinking it the frontrunner sight unseen.
- Kristopher Tapley
Cinematography is perhaps the most revered of cinematic art forms. The reason for this is simple – our films would literally not exist without the camera. From crafting mood and atmosphere to wowing us with the sheer ability to have “pulled off” a shot, cinematographers (also known as directors of photography or “D.P.s”) are the amazing talents responsible for realizing a director’s vision through command of the camera. And after the director, D.P.s are arguably the most important person on a film’s set. The cinematographers’ branch in the Academy is a group that loves epic luscious landscapes and war films. The branch is also relatively keen on foreign-language titles. And there is usually – though by no means always – significant overlap between the Cinematography race and the Best Picture race. (An unfortunate bizarre fact – this is the only Oscar category outside of Best Actor and Best »
- Gerard Kennedy
Toll, one of a short list of DPs to win back-to-back Oscars (for “Legends of the Fall” and “Braveheart”) will receive the org’s Lifetime Achievement Award. Peterson, a three-time Asc nominee and small-screen veteran of shows like “Profiler,” “Six Feet Under” and “Jane the Virgin,” will be honored with the Career Achievement in Television Award. And Bennett, with well over 1,000 television commercial credits and affectionately known by his peers as “The Car Guy” for his innovative work on automobile spots, will receive the Asc Presidents Award.
“John, Lowell and Bill have set an extremely high bar for all of us,” Asc president Richard Crudo said. “For years they each have contributed outstanding work across a variety of platforms. And of course, »
- Kristopher Tapley
A moving and funny coming-of-age story about a high-schooler's friendship with his terminally ill classmate, it exploded out of Sundance earlier this year, bagging both the Grand Jury Prize and Audience Award for director Alfonso Gomez-Rejon. The filmmaker has some movie pedigree; he got his start in the industry working as Martin Scorsese's assistant on '90s classic Casino.
Gomez-Rejon is still firm friends with Scorsese, with the pair even sitting down for a filmed discussion on Me and Earl. Scorsese's visual style, all swooping cameras and extended tracking shots, is very much present in Gomez-Rejon's direction, and he told Digital Spy how the legendary filmmaker has been a constant inspiration on his life and art.
"I was on Casino from when »
The comeback of motion picture film will literally get its biggest boost yet with the Ultra Panavision 70 release of celluloid defender Quentin Tarantino's post-Civil War Western "The Hateful Eight." Shot on 65mm film with classic Panavision lenses in the widest aspect ratio of 2.76:1, this marks the first anamorphic 70mm theatrical release in nearly 50 years. The two-week roadshow engagement in 50 theaters (with the Cinerama Dome in contention for La, of course) will be the best holiday gift for cinephiles. "The Hateful Eight" will also pit three-time Oscar-winning cinematographer Robert Richardson ("Hugo," "The Aviator," "JFK") in a shoot-out with Emmanuel "Chivo" Lubezki, who's going for a third Oscar in a row for his own frozen wilderness adventure, "The Revenant," from "Birdman" director Alejandro G. Iñárritu. (Both films are racing to the editorial finish line for a Christmas Day »
- Bill Desowitz
Welcome to today's edition of Nerd Alert, where we have all the quirky, nerdy news that you crave in one convenient spot. What do we have in store for you on this magnificent Monday? The Peanuts Movie gets a new remix, the San Francisco Giants recreate the Full House opening credits scene and Trainwreck's Amy Schumer and Judd Apatow crash a wedding. But first, we have an awesome Quentin Tarantino super cut, and a father creates a wonderful Star Wars baby rocker for his daughter's first birthday! So, sit back, relax and check out all that today's Nerd Alert has to offer.
Quentin Tarantino Supercut
Ollie Paxton has put together a wonderful supercut that showcases the gorgeous cinematography of Quentin Tarantino's films. What's interesting is the filmmaker has only used three Dp's throughout his illustrious career, with Andrzej Sekula shooting Reservoir Dogs and Pulp Fiction, Guillermo Navarro shooting »
The trunk shot (and reverse trunk shot), blood-stained flowers, the ubiquitous dance scene, the god’s-eye Pov, the foot fetish (“Wiggle Your Big Toe!”), the lip close-up (an homage to “The Warriors,” I’d bet), these are all undeniably Quentin Tarantino. A savvy, brilliant auteur in his own right, Tarantino is an instantly recognizable director –– and an unforgettably shrewd student of film. His admiration for the craft and encyclopedic knowledge of practically every genre aid in that notoriety and keep us longing for whatever he’s going to grace us with next. Read More: The 5 Best Films Of Quentin Tarantino Ollie Paxton has created this stunning mashup of Tarantino’s arresting films, featuring the cinematography of Andrzej Sekula (“Reservoir Dogs,” “Pulp Fiction”), Guillermo Navarro (“Jackie Brown”), Robert Richardson (“Kill Bill: Vol. 1,” “Kill Bill: Vol. 2,” “Inglorious Basterds,” and “Django Unchained”), and Tarantino’s own turn (“Death Proof”). Watch the video. »
- Samantha Vacca
San Diego - Quentin Tarantino returned to Comic-Con Saturday after a triumphant "debut" for "Django Unchained" in 2012. Actually, the Oscar-winning filmmaker has been to the convention many times, but usually just as an attendee.* Today Tarantino was on hand to talk about his upcoming thriller "The Hateful Eight" and begin what will clearly be a significant publicity push to inform moviegoers of its roadshow release (more on that later). *Tarantino revealed he was at Comic-Con two years ago, but wore a mask to disguise himself. He spent his time filling out the holes in his comic book collection on the convention floor. Along with Tarantino the Hall H panel featured a majority of "The Hateful Eight" cast including Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demian Bichir, Tim Roth, Michael Madsen and Bruce Dern. Longtime Tarantino collaborator Samuel L. Jackson couldn't make it in person, but was a part of »
- Gregory Ellwood
Doing things his way has often meant Quentin Tarantino doing the things his revered filmmaking forebears did back in the day. Things that have been mothballed by modern studios with their obsession with 3D, eye on new markets and digital tech. Things like giving their new movie a Us roadshow theatrical release on Christmas day, complete with 70mm projection, interval and prelude music. Samuel L. Jackson, absent with filming commitments but appearing via the magic of pre-record, revealed that, like in the days of Spartacus, El Cid and Battle Of The Bulge, The Hateful Eight will be released in the most spectacular format possible. Continuing that sense of movie heritage was news that the great Ennio Morricone will be scoring the film, his first Western score in four decades.So it was that Hall H found itself treated to The Hateful Eight panel that was part footage premiere, part history lesson. »
Anjelica Huston's autobiography is a beautifully written evocation of time and place, but provides scant personal insight...
Autobiographies are a strange business. I'm never sure whether we, the readers, want to experience exactly what the writer has experienced, or if we're looking for more - a level of extrapolation, of objectivity, hoping that the writer can point out their highs and lows and say, "This is where it all went right, and this is where it didn't." Are we trying to live a little bit of a different person's life, or learn from it?
Or maybe there's a simpler option, and we just like reading about famous people. If that's the case, then Anjelica Huston's memoir, A Story Lately Told, is a very good read. Her father, the film director John Huston, gave her an childhood filled with trips abroad, movie sets, actors and writers and singers that are names we all know, »
We know that Quentin Tarantino loves celluloid and that he shot his latest film, "The Hateful Eight" in 70mm (actually Ultra Panavision 70, to be exact). But the problem is most theaters are now equipped with digital systems and are unprepared to properly exhibit the film. Read More: Here's the Best Advice from Cinematographers at CineGear News has come from CineGear Expo by way of cinematographer Bill Bennett who, after a presentation of "Hateful Eight" test footage tweeted that Tarantino plans to help put 70mm projectors equipped with anamorphic gear into 50 theaters worldwide so the film can be screened properly. It's worth noting that Bennett didn't shoot "Hateful Eight." That was three-time Oscar winner Robert Richardson ("JFK," "The Aviator" and "Hugo"). The footage was projected in 70mm anamorphic film and included actor close-ups, interiors and various exteriors in a variety of lighting conditions, »
- Paula Bernstein
Quentin Tarantino wants to make sure you have the chance to see The Hateful Eight properly. After shooting his latest film in the stunning high-resolution, wide image 70mm format, Tarantino has plans to retrofit 50 theaters worldwide with the film projectors and anamorphic lenses required to do the photography justice. In today's cinematic landscape, shooting on film is rare and shooting on 70mm is almost unheard of, but Tarantino and cinematographer Robert Richardson took things to the next level, filming The Hateful Eight in the extremely rare Ultra Panavision 70 format, which is believed to have last been used on the 1966 film Khartoum. And in an interesting, but unconfirmed bit of film tech news, THR reports that the Star Wars anthology film Rogue One will be the next feature shot in Ultra Panavision. After a screening of Hateful Eight test footage at the Cine Gear Expo, cinematographer Bill Bennett (who did not »
- Haleigh Foutch
Test footage from Quentin Tarantino's The Hateful Eight was screened for an audience at the Paramount Theater this past Saturday, June 6, at Cine Gear Expo, showing off Tarantino and cinematographer Robert Richardson's use of 70mm film for the shoot. The report comes from The Hollywood Reporter, which quotes Panavision's vp of optical engineering Dan Sasaki saying, "Tarantino really wants to get people back into theaters. You're not going to get this at home. He did something really great to bring that experience back... Quentin wanted an epic Western, something that hasn't been seen in forever, that would really wow people. When he saw this test, he started bouncing in his seat." I can't seem to find a confirmed number of U.S. theaters equipped to screen film in 70mm -- I know the Cinerama here in Seattle has the capability and here is a list of non-u. »
- Brad Brevet
I wouldn't expect anything less from Quentin Tarantino, the owner of a classic repertory 35mm cinema in Los Angeles (and tons of old film reels and other lost film prints). Over the weekend at the Cine Gear Expo held in Hollywood, Panavision was represented at the Paramount Theater on Paramount's lot and showed 70mm footage from Tarantino's new film The Hateful Eight. Tarantino, with his cinematographer Robert Richardson, decided this next western should be presented in 2.78:1 aspect ratio. So they decided to shoot on 65mm film stock using classic Panavision lenses. In THR's post about the event, they hint: "word on the street is that plans are underway to equip roughly 50 U.S. theaters to show the movie in 70mm". Ooh. The last time a major 70mm release caused a stir was when Paul Thomas Anderson put out The Master in 70mm, and the few remaining cinemas that could show it definitely did so. »
- Alex Billington
Our first look at Quentin Tarantino‘s The Hateful Eight is only the beginning of much more to come, but perhaps nearly as interesting as what we’ll see on screen is how we’ll see it. Late last year, around the time production started, we learned that the director and cinematographer Robert Richardson would use 65mm film stock and classic Panavision […] »
- Jordan Raup
Sound on Sight undertook a massive project, compiling ranked lists of the most influential, unforgettable, and exciting action scenes in all of cinema. There were hundreds of nominees spread across ten different categories and a multi-week voting process from 11 of our writers. The results: 100 essential set pieces, sequences, and scenes from blockbusters to cult classics to arthouse obscurities.
Shootouts, unlike any other type of action scenes, put death in the forefront of the audience’s mind. Whereas a car chase draws the attention onto the race, or a fight scene onto the pursuit of victory, shootouts test the mortality of our protagonists and anti-heroes. It’s more than just a hail of bullets that matters on screen, it’s who those bullets are clipping down or propping up. Legends can be made in a flurry of lead. The last man standing after the fray isn’t always the best or »
- Shane Ramirez
'JFK' movie with Kevin Costner as Jim Garrison 'JFK' assassination movie: Gripping political drama gives added meaning to 'Rewriting History' If it's an Oliver Stone film, it must be bombastic, sentimental, clunky, and controversial. With the exception of "clunky," JFK is all of the above. It is also riveting, earnest, dishonest, moving, irritating, paranoid, and, more frequently than one might expect, outright brilliant. In sum, Oliver Stone's 1991 political thriller about a determined district attorney's investigation of the assassination of U.S. president John F. Kennedy is a slick piece of propaganda that mostly works both dramatically and cinematically. If only some of the facts hadn't gotten trampled on the way to film illustriousness. With the exception of John Williams' overemphatic score – Oliver Stone films need anything but overemphasis – JFK's technical and artistic details are put in place to extraordinary effect. Joe Hutshing and Pietro Scalia's editing »
- Andre Soares
As has now become a tradition at Cannes, The Weinstein Co. screened footage from several of their upcoming films for press in attendance, but it's a two-minute trailer for Quentin Tarantino's The Hateful Eight that garners our immediate attention and at the same time Entertainment Weekly has released more pictures from the upcoming movie expected to hit theaters Christmas 2015. First, here's the official synopsis: In The Hateful Eight, set six or eight or twelve years after the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. The passengers, bounty hunter John Ruth (Kurt Russell) and his fugitive Daisy Domergue (Jennifer Jason Leigh), race towards the town of Red Rock where Ruth, known in these parts as "The Hangman," will bring Domergue to justice. Along the road, they encounter two strangers: Major Marquis Warren (Samuel L. Jackson), a black former union soldier turned infamous bounty hunter, and Chris Mannix »
- Brad Brevet
By winning the Best Cinematography Oscar for a second year in a row, "Birdman" director of photography Emmanuel Lubezki has joined a truly elite club whose ranks haven't been breached in nearly two decades. Only four other cinematographers have won the prize in two consecutive years. The last time it happened was in 1994 and 1995, when John Toll won for Edward Zwick's "Legends of the Fall" and Mel Gibson's "Braveheart" respectively. Before that you have to go all the way back to the late '40s, when Winton Hoch won in 1948 (Victor Fleming's "Joan of Arc" with Ingrid Bergman) and 1949 (John Ford's western "She Wore a Yellow Ribbon"). Both victories came in the color category, as the Academy awarded prizes separately for black-and-white and color photography from 1939 to 1956. Leon Shamroy also won back-to-back color cinematography Oscars, for Henry King's 1944 Woodrow Wilson biopic "Wilson" and John M. Stahl »
- Kristopher Tapley
19 items from 2015
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