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Cinematographer Style (2006)

110 of the world's top cinematographers discuss the art of how and why films look the way they do.

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Cast

Credited cast:
...
Himself
Russ T. Alsobrook ...
Himself (as Russ Alsobrook)
Howard A. Anderson III ...
Himself (as Howard Anderson III)
Howard A. Anderson ...
Himself (as Howard Anderson Jr.)
...
Himself
...
Himself
...
Himself
Bill Bennett ...
Himself
...
Himself
...
Himself (as Larry Bridges)
Jonathan Brown ...
Himself
Stephen H. Burum ...
Himself
...
Himself
Bobby Byrne ...
Himself
...
Himself
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Storyline

CINEMATOGRAPHER STYLE is about the Art and Craft of Cinematography. It is about how everything, from life experiences to technology, influences and shapes an individual's visual style. Because of the powerful impact that the visual style of a movie can have, this documentary may offer contemporaries valuable insights into the dramatic choices Cinematographers make. And, it is expected that the material will have significant historic value as well. Written by Volker Bahnemann

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25 June 2006 (USA)  »

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$3,000,000 (estimated)
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1.78 : 1
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References The Godfather (1972) See more »

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User Reviews

 
Cinematographers Speak
7 November 2006 | by (United States) – See all my reviews

Should do for Cinematography what "Blow Up" did for stills.

Thank you for this film! It eloquently verbalizes through all these cinematographers' voices the very thing which probably drew most of us to work in this industry: to be where art meets technology, and where technology expands art. It is refreshing to hear your interview partners talk about this magic moment again and again.

Really, I hope to be able to see the 10 hour version, because in many statements of the film I wondered what other interesting story or insight would have followed - after the deep breath, after the cut.

I was happy with the structure of the film. It is the ultimate talking heads film. Because the line of thought going through all the interviews kept me very much attentive. This way all the various statements of different personalities transformed themselves into one statement of one person, the "über"-cinematographer, and thus became tremendously true.

In the film there are moments with a very special magic on its own: when Vittorio Storaro moves the light bulb around, or when Roger Deakins demands a different focal length. This is something film can do beyond recording voices and expressions in faces.

I'm thankful for this. I want more.


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