Torun, Poland – Speaking at the EnergaCamerimage Intl. Film Festival on Monday, Richard Rutkowski praised the work of Costa-Gavras, offered sage advice for filmmakers working internationally, and offered a glimpse of the fast-paced work faced by cinematographers on high-profile TV series.
Rutkowski, whose credits include “Jack Ryan,” “Castle Rock” and “The Americans,” discussed the methods, techniques and common sense he employs in meeting the major challenges of demanding projects.
“The productions I work on move incredibly fast. They’re big television shows; they often shoot on two or three continents – if they’re not on two or three continents they’re quite often cross-boarding two to three episodes at once. So you’re in a constant state of running ahead of things and also feeling like you’re behind.”
Pointing to one particular scene in the first episode of season one of Amazon’s “Jack Ryan,” set in a cafe in...
Rutkowski, whose credits include “Jack Ryan,” “Castle Rock” and “The Americans,” discussed the methods, techniques and common sense he employs in meeting the major challenges of demanding projects.
“The productions I work on move incredibly fast. They’re big television shows; they often shoot on two or three continents – if they’re not on two or three continents they’re quite often cross-boarding two to three episodes at once. So you’re in a constant state of running ahead of things and also feeling like you’re behind.”
Pointing to one particular scene in the first episode of season one of Amazon’s “Jack Ryan,” set in a cafe in...
- 11/12/2019
- by Ed Meza
- Variety Film + TV
The American Society of Cinematographers (Asc) have announced the television nominees for their 31st annual Outstanding Achievement Awards.
This year “Game of Thrones” received two nominations, more than any other show. Anette Haellmigk and Fabian Wagner are both receiving their third nominations for the HBO show. Haellmigk was previously nominated for the series in 2014 and 2015, and Wagner in 2015 and 2016.
Other notable nominees include Christopher Norr who is receiving his third consecutive nomination for his work on “Gotham,” and Richard Rutkowski gets his second nomination for “Manhattan.” New series receiving praise this year include “Westworld” and “The Exorcist.”
Read More: Sundance 2017 Announces Short Selections, With New Films From Kristen Stewart, Laura Poitras and Many More
The nominees were selected by Asc active members who voted on submissions. This year’s winners will be revealed on February 4, 2017, at the organization’s annual ceremony at the Hollywood & Highland Ray Dolby Ballroom in Los Angeles.
This year “Game of Thrones” received two nominations, more than any other show. Anette Haellmigk and Fabian Wagner are both receiving their third nominations for the HBO show. Haellmigk was previously nominated for the series in 2014 and 2015, and Wagner in 2015 and 2016.
Other notable nominees include Christopher Norr who is receiving his third consecutive nomination for his work on “Gotham,” and Richard Rutkowski gets his second nomination for “Manhattan.” New series receiving praise this year include “Westworld” and “The Exorcist.”
Read More: Sundance 2017 Announces Short Selections, With New Films From Kristen Stewart, Laura Poitras and Many More
The nominees were selected by Asc active members who voted on submissions. This year’s winners will be revealed on February 4, 2017, at the organization’s annual ceremony at the Hollywood & Highland Ray Dolby Ballroom in Los Angeles.
- 12/6/2016
- by Liz Calvario
- Indiewire
It’s not uncommon for actors on long-running shows to take a turn in the director’s chair. Some even turn that into their full-time job, like Laura Innes or Peter Horton. It’s rare that you see an actor be given quite so complicated an episode for his first directing job as “The Americans” handed Noah Emmerich tonight. The episode (which I reviewed here) had an action scene, suspense at FBI headquarters and a lot of tricky emotional material for Emmerich to both direct and, in several scenes, play. Earlier this week, we talked about how the assignment came about, what he learned from other “Americans” directors, and how he got the show to dip back into the Fleetwood Mac catalog after the early success with “Tusk.” How did it come about first of all that you were going to direct an episode? Noah Emmerich: It was something...
- 3/12/2015
- by Alan Sepinwall
- Hitfix
Emmanuel Lubezki, Asc, AMC; Jonathan Freeman, Asc; John Lindley, Asc; and Peter Flinckenberg, Fsc earned top honors in the four competitive categories at the 29th Annual American Society of Cinematographers (Asc) Awards for Outstanding Achievement. The ceremony took place here tonight at the Hyatt Regency Century Plaza. Lubezki won for the feature film Birdman Or (The Unexpected Virtue Of Ignorance). Freeman won the episodic television category for Boardwalk Empire, and Lindley took the honors in the TV Movie/Miniseries/Pilot category for Manhattan. Winning the Asc Spotlight Award was Flinckenberg for Concrete Night. Giovanni Ribisi presented the Asc Award for best feature to Lubezki, who also won the organization’s top prize last year for Gravity. This marks the first time that a cinematographer has won consecutive Asc Awards in the theatrical category. Lubezki previously won in 2012 for The Tree Of Life and in 2007 for Children Of Men, and earned...
- 2/16/2015
- by Josh Abraham
- Hollywoodnews.com
It was a pretty stellar year once again for cinematography and I don't envy the members of the American Society of Cinematographers (Asc) their duty of narrowing it down to the top tier. Last year they didn't even bother narrowing — they settled on a whopping seven nominees. Why not? The more the merrier when the work is this good. No such luck this year, however, as we're back to five. And I must say, with two excellent pieces of work this year, I'm super bummed that Robert Elswit didn't make this list. I would have liked to see Bradford Young get the love, too, but I have no doubt he'll get his laurels in due time. "Birdman," "The Grand Budapest Hotel" and "The Imitation Game" remain strong as the only films so far to pick up nods from all guilds (we'll see how that shifts throughout the day). "The Imitation Game...
- 1/7/2015
- by Kristopher Tapley
- Hitfix
The American Society of Cinematographers (Asc) has named its nominees for the organization’s 29th Annual Outstanding Achievement Awards. HBO is the top network contender with three nominations, while Fox and Lifetime each earning two. “Our members had a very difficult time choosing these nominees from such an incredible field of submissions," Asc President Richard Crudo said in a statement. “They have done superlative work in a very challenging medium, and we salute them.” For his work on "Boardwalk Empire’s" final season opener, Jonathan Freeman earned his eighth nomination. The Asc’s press release notes that he has won four Asc Awards for "Game of Thrones" (2014), "Boardwalk Empire" (2012, 2011), and "Homeland Security" (2005), with additional noms for "Taken" (2003), "Strange Justice" (2000) and "Prince Street" (1998). "Gotham" nominee David Stockton previously won for his work on "Eleventh Hour" (2009) and earned nominations for the "Alcatraz" pilot (2013), "Chase" (2012), and the "Nikita" pilot (2011). Other previous nominees include...
- 11/19/2014
- by Matt Patches
- Hitfix
In our recap-dominated landscape, television shows tend to be judged primarily on their plot and dialogue, but TV is by its very nature — and name — a highly visual medium. Luckily, there's no shortage of intensely cinematic experiences to be found around the dial. Here are my five favorite examples of visual wizardry from the past year.5. The Americans: Gregory escorts Joyce Ramirez away from FBI agents, through a pet shop. Episode: "Gregory" Director: Thomas Schlamme Cinematographer: Richard Rutkowski The Americans has a knack for lacing sly visual jokes, and even metaphors, into throwaway shots. The third episode of the first season contains my favorite: radical turned Kgb operative Gregory (Derek Luke) spirits the wife of a dead Kgb agent away from federal agents by sneaking her through the front door of a pet shop and then out the back. The shot starts with them entering the store, swings left...
- 6/11/2013
- by Matt Zoller Seitz
- Vulture
Chicago – Oliver Stone’s “Natural Born Killers” is easily one of the best films of the ’90s, an experimental, daring, visually mesmerizing study of not just violence but America’s obsession with it. At the peak of his directorial abilities, one of the best filmmakers of the ’80s and ’90s turned his lens on the way we turn evil people into tabloid heroes and he did it with such vibrant style that “Nbk” has just as much resonance as it did fifteen years ago.
Blu-Ray Rating: 4.5/5.0
Woody Harrelson and Juliette Lewis star as Mickey and Mallory Knox, a pair of love-crossed serial killers who have upgraded the exploits of Bonnie and Clyde for a new generation. Their dark pasts of fire and gasoline have exploded into the kind of story that journalists and TV shows dream about. Robert Downey Jr. co-stars as a journalist whose attention feed the murders of...
Blu-Ray Rating: 4.5/5.0
Woody Harrelson and Juliette Lewis star as Mickey and Mallory Knox, a pair of love-crossed serial killers who have upgraded the exploits of Bonnie and Clyde for a new generation. Their dark pasts of fire and gasoline have exploded into the kind of story that journalists and TV shows dream about. Robert Downey Jr. co-stars as a journalist whose attention feed the murders of...
- 10/23/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Joining the ranks of the pseudo-documentary, which came to full bloom with "This Is Spinal Tap" and enjoyed its greatest boxoffice success with "The Blair Witch Project", is writer-director Neil Burger's "Interview With the Assassin". This cinema verite speculation on the assassination of John F. Kennedy may have been inspired by "Blair Witch", but it takes its techniques into such fresh territory that the film never feels derivative.
For one thing, even though one can fill a small library with volumes written about the murder of President Kennedy, besides Oliver Stone's "JFK" and thinly disguised fictions like "The Parallax View", the movies have pretty much shied away from this topic. "Interview" is certain to provoke discussions and reconsideration of that devastating episode in our nation's history, which could translate into art house success.
Making a movie about the most famous murder in recent history allows Burger to speak to an audience in shorthand. We can leap past Who, Where and What and focus immediately on How and Why. Unwilling to entangle himself in conspiracy theories, however, Burger sets out on a more challenging path through the maze of facts, myths and semitruths.
What if, he wonders, a man dying of cancer came to an unemployed TV news cameraman claiming to be the second gunman, the one hiding on the "grassy knoll" of Dealey Plaza in Dallas? The movie becomes just what it declares itself to be: an assemblage of digital video footage taken by a San Bernardino, Calif., cameraman, Ron Kobeleski (Dylan Haggerty), of the confession of his taciturn, shadowy neighbor Walter Ohlinger (Raymond J. Barry) and their journeys to Dallas and the Washington area, where Walter attempts to prove his claim.
There are revelations along the way, revelations that seem to both substantiate and refute the veracity of the confession. There are also ominous signs the two are being followed, even threatened with harm, as they dig into ground some may wish left undisturbed. Yet this may well represent the paranoia this particular case provokes in people as imaginations run amok.
After striving in vain to cast an unknown in the role of the laconic assassin, Burger went with Barry, a veteran New York stage and film actor. This proves to be a stroke of luck. His deadpan expression and steely, matter-of-fact voice project the chilling demeanor of a man torn by his claim to fame: Pride in a difficult job well done mingles with the shame that an ex-Marine would gun down the country's chief executive.
On its cross-country trip into unremarkable homes and middle-of-nowhere places, the movie encounters aging ghosts from the world of spooks and killers. Walter drops by the desert home of a fellow Marine (Jared McVay) who accompanied him at the Bay of Pigs with a mission to assassinate Castro. Walter's ex-wife (Kate Williamson) is obviously hiding something, but what is it? An elderly man (Darrell Sandeen) hooked up to tubes at the Bethesda Naval Hospital in Maryland, who Walter claims hired him to shoot the president, mysteriously dies during Walter's brief interview with him.
Yes, it's all fiction, but so is much of what passes for fact in the JFK murder. At this point in time, if someone did come forth with new information, would anybody recognize it as such? Tellingly, Burger's film never illuminates the reason behind the assassination other than to imply government agents were heavily involved. In pursuing this fictional course of inquiry, he asks all the right questions, and Richard Rutkowski's hand-held cinematography and Brad Fuller's nervous editing convince the viewer that these events are transpiring in front of the camera.
INTERVIEW WITH THE ASSASSIN
Magnolia Pictures
Credits: Screenwriter-director: Neil Burger; Producers: Barry Koppelman, David Levien; Executive producer: Tom Tucker; Director of photography: Richard Rutkowski; Production designer: Greg Finnin; Costume designer: Jenny Gering; Editor: Brad Fuller. Cast: Walter Ohlinger: Raymond J. Barry; Ron Kobeleski: Dylan Haggerty; Jimmy Hones: Jared McVay; Steven Wu: Dennis J. Lau; Walter's Ex-wife: Kate Williamson; Karen Kobeleski: Renee Faia.
No MPAA rating, running time 82 minutes.
For one thing, even though one can fill a small library with volumes written about the murder of President Kennedy, besides Oliver Stone's "JFK" and thinly disguised fictions like "The Parallax View", the movies have pretty much shied away from this topic. "Interview" is certain to provoke discussions and reconsideration of that devastating episode in our nation's history, which could translate into art house success.
Making a movie about the most famous murder in recent history allows Burger to speak to an audience in shorthand. We can leap past Who, Where and What and focus immediately on How and Why. Unwilling to entangle himself in conspiracy theories, however, Burger sets out on a more challenging path through the maze of facts, myths and semitruths.
What if, he wonders, a man dying of cancer came to an unemployed TV news cameraman claiming to be the second gunman, the one hiding on the "grassy knoll" of Dealey Plaza in Dallas? The movie becomes just what it declares itself to be: an assemblage of digital video footage taken by a San Bernardino, Calif., cameraman, Ron Kobeleski (Dylan Haggerty), of the confession of his taciturn, shadowy neighbor Walter Ohlinger (Raymond J. Barry) and their journeys to Dallas and the Washington area, where Walter attempts to prove his claim.
There are revelations along the way, revelations that seem to both substantiate and refute the veracity of the confession. There are also ominous signs the two are being followed, even threatened with harm, as they dig into ground some may wish left undisturbed. Yet this may well represent the paranoia this particular case provokes in people as imaginations run amok.
After striving in vain to cast an unknown in the role of the laconic assassin, Burger went with Barry, a veteran New York stage and film actor. This proves to be a stroke of luck. His deadpan expression and steely, matter-of-fact voice project the chilling demeanor of a man torn by his claim to fame: Pride in a difficult job well done mingles with the shame that an ex-Marine would gun down the country's chief executive.
On its cross-country trip into unremarkable homes and middle-of-nowhere places, the movie encounters aging ghosts from the world of spooks and killers. Walter drops by the desert home of a fellow Marine (Jared McVay) who accompanied him at the Bay of Pigs with a mission to assassinate Castro. Walter's ex-wife (Kate Williamson) is obviously hiding something, but what is it? An elderly man (Darrell Sandeen) hooked up to tubes at the Bethesda Naval Hospital in Maryland, who Walter claims hired him to shoot the president, mysteriously dies during Walter's brief interview with him.
Yes, it's all fiction, but so is much of what passes for fact in the JFK murder. At this point in time, if someone did come forth with new information, would anybody recognize it as such? Tellingly, Burger's film never illuminates the reason behind the assassination other than to imply government agents were heavily involved. In pursuing this fictional course of inquiry, he asks all the right questions, and Richard Rutkowski's hand-held cinematography and Brad Fuller's nervous editing convince the viewer that these events are transpiring in front of the camera.
INTERVIEW WITH THE ASSASSIN
Magnolia Pictures
Credits: Screenwriter-director: Neil Burger; Producers: Barry Koppelman, David Levien; Executive producer: Tom Tucker; Director of photography: Richard Rutkowski; Production designer: Greg Finnin; Costume designer: Jenny Gering; Editor: Brad Fuller. Cast: Walter Ohlinger: Raymond J. Barry; Ron Kobeleski: Dylan Haggerty; Jimmy Hones: Jared McVay; Steven Wu: Dennis J. Lau; Walter's Ex-wife: Kate Williamson; Karen Kobeleski: Renee Faia.
No MPAA rating, running time 82 minutes.
- 11/15/2002
- The Hollywood Reporter - Movie News
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