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Cannes 2018: Here Are the Cameras Used To Shoot 32 of This Year’s Films

IndieWire reached out to the filmmakers with films premiering at the 2018 Cannes Film Festival to ask which cameras and lenses they used and, more importantly, why they were the right ones for their movies.

A few trends emerged. Once again, Arri’s digital cameras reign supreme as the choice of international auteurs and their cinematographers. Meanwhile, 13 cinematograhers shot on celluloid, including eight of the 21 competition films gunning for the Palme d’Or: “Ash is the Purest White,” “Shoplifters,” “BlacKkKlansman,” “Lazzaro Felice,” “Sorry Angel,” “Leto,” “Knife + Heart” and “Ayka.”

A handful of films relied on smaller, less expensive cameras that fit their budgets and circumstances, including two documentaries that used outdated Dvcam and Hdv formats when they began as one-person shoots many years ago. Iranian director Jafar Panahi, who is still banned from making films in his home country, used Canon 5d mark and Sony a7s, while Terry Gilliam
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Oscars flashback: Meryl Streep exclaims ‘Holy mackerel’ winning her 1st Oscar for ‘Kramer vs. Kramer’ [Watch]

Oscars flashback: Meryl Streep exclaims ‘Holy mackerel’ winning her 1st Oscar for ‘Kramer vs. Kramer’ [Watch]
Believe it or not, long before a record-shattering 21 Oscar nominations, there was a time when Meryl Streep was not the queen of the movies. After finishing at Yale Drama School in the 1970s, Streep found steady work on stage and television before her breakout role in 1978’s Best Picture Oscar winner, “The Deer Hunter.” That film brought Streep her first Oscar nomination for Best Supporting Actress (and first loss) for her performance as Linda, the fiancee of a troubled Vietnam vet (Christopher Walken in an Oscar-winning performance).

The following year she starred in three major films: as the love interest of Alan Alda in “The Seduction of Joe Tynan;” as Woody Allen’s lesbian ex-wife in “Manhattan;” and as the troubled Joanna Kramer opposite Dustin Hoffman in “Kramer vs Kramer.” It was that latter role that brought her a first-ever win at the Academy Awards. The first words exclaimed by Streep were “Holy mackerel!
See full article at Gold Derby »

‘Wonder Wheel’ Review: Dir. Woody Allen (2017)

Wonder Wheel review: Justin Timberlake and Kate Winslet lead the cast of Woody Allen’s 49th feature as director.

Wonder Wheel review by Orestes Adam.

Wonder Wheel review

The last year that Woody Allen did not release a single film was 1981 and even at 82 the auteur shows no signs of slowing down. With such a massive filmography under his belt it is inevitable that some releases will pale in comparison to his masterworks and his latest addition Wonder Wheel, starring Kate Winslet and Justin Timberlake, unfortunately offers one of the dullest entries into his expansive career. With such a competent cast and crew, including a second collaboration between Allen and legendary cinematographer Vittorio Storaro, certain aspects of Wonder Wheel, when taken in isolation from the rest of the film, quite literally shine. However, it is the way that these elements come together, or rather don’t, that makes Woody Allen
See full article at The Hollywood News »

‘Wonder Wheel’ or: When Autopilot Woody Allen Goes on Autopilot

When Woody Allen makes a movie these days, it’s akin to watching a dart in midair as it readies to hit the board. When he makes a hit, it hits (‘Midnight in Paris‘, ‘Blue Jasmine‘, ‘Café Society’, even older hits such as ‘Crimes and Misdemeanors‘); when the project flops, oh boy, does it flop (‘You Will Meet a Tall Dark Stranger‘ and ‘To Rome with Love‘ [you know, the one Ellen Page said she regretted working on. She was right, just not for the reasons she believes]); and sometimes, there’s a middle ground where the movie can fall into either group (‘Magic in the Moonlight‘ and ‘Irrational Man‘). ‘Wonder Wheel‘ marks three milestones for Mr. Allen: his forty-eighth major motion picture as he turns, a reunion with iconic Italian cinematographer Vittorio Storaro after their previously acclaimed collaboration and directing Kate Winslet, certainly one of the most iconic actresses of today, in what
See full article at Age of the Nerd »

Wonder Wheel – Review

Woody Allen’s latest is a disappointment, but even a lower-drawer Woody like Wonder Wheel, which is anchored by a quartet of outstanding lead performances, is worth a look. Set around 1950, Wonder Wheel tells the story of 26-year old Carolina (Juno Temple), on the run from her mobster husband and his crew after ratting them out. She takes refuge at the home of her estranged father Humpty (Jim Belushi) and his second wife Genny (Kate Winslet). They live with Genny’s young son Richie (Jack Gore), a budding arsonist, in a cramped apartment on the grounds of the Coney Island Amusement Park that quakes beneath the titular Ferris Wheel (shades of Alvy’s childhood in Annie Hall). Carolina’s unexpected appearance could not have come at a worse time. Genny and Humpty were at one time a pair of alcoholics that found each other when they were at a low point,
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'Wonder Wheel' Review: Kate Winslet Singes in Woody Allen's Dour Drama

'Wonder Wheel' Review: Kate Winslet Singes in Woody Allen's Dour Drama
Kate Winslet is on fire in Woody Allen's Wonder Wheel, playing Ginny, an unhappily married waitress living near the boardwalk on Brooklyn's Coney Island circa 1950. This broken dreamer is pushing 40 and reaching the limits of her patience with Humpty (a solidly affecting Jim Belushi), the carousel-operator she married to provide a semblance of security for her pre-teen, budding-pyromaniac son Richie (Jack Gore), a budding pyromaniac. The Wonder Wheel outside their window spins in circles – just like Ginny, who drinks too much and lashes out at anyone who doesn't like it.
See full article at Rolling Stone »

Arrow Video’s February 2018 Blu-ray Releases Include Basket Case Limited Edition, Scalpel, The Gruesome Twosome

  • DailyDead
Even after all of your presents are unwrapped and your tree is packed away (or put on the curb), Arrow Video will continue to give the gift of new horror Blu-ray releases for fans looking to expand their collections. The company just announced their impressive February 2018 slate of Blu-rays, including a limited edition version of Frank Henenlotter's Basket Case, The Gruesome Twosome, and much more!

From Arrow Video: "Time for our new announcements! First up two titles coming from Arrow Records and Books this December…

New Arrow Book: The Hitcher (Book)

Pre-order now:

Release date: 29th December

Robert Harmon’s 1986 film The Hitcher is a complex beast: reviled at the time of its release, it has been adored in the long term as one of the most intoxicating, unrelenting highway cult films ever made. Starring Rutger Hauer in the title role whose alluring villainy
See full article at DailyDead »

2018 Oscar Predictions: Best Cinematography

  • Indiewire
2018 Oscar Predictions: Best Cinematography
This could be the landmark year that Roger Deakins finally — after 13 nominations — lands a win for his stunning collaboration with Denis Villeneuve on “Blade Runner.” Other hopefuls include four-time nominee Bruno Delbonnel for “Darkest Hour,” two-timer Ed Lachman for his exquisite black-and-white 20s and color 70s visuals for Todd Haynes’ “Wonderstruck,” and two-time winner Janusz Kaminski for Steven Spielberg’s 70s Watergate drama “The Post.”

Vying for their first nods are Danish Dan Laustsen for Guillermo del Toro’s lush ’60s romantic fantasy-thriller, “The Shape of Water,” Swiss Hoyt Van Hoytema (BAFTA-nominated for “Interstellar” and “Tinker Tailor Soldier Spy”) for his 65 mm photography on Christopher Nolan’s World War II

epic “Dunkirk,” and Rachel Morrison, who could become the first woman to break into the ranks of nominated directors of photography for Dee Rees’ southern epic “Mudbound.”


Roger Deakins (“Blade Runner 2049”)

Ed Lachman (“Wonderstruck”)

Dan Laustsen (“The Shape of Water
See full article at Indiewire »

Watch: Vittorio Storaro and Ed Lachman’s 70-Minute Cinematography Master Class

The 55th New York Film Festival brought together cinematographers Vittorio Storaro (The Conformist, Apocalypse Now) and Ed Lachman (Carol, The Limey) for a master class on the occasion of both having films in the fest’s main slate. Lachman lensed Todd Haynes’ Centerpiece film Wonderstruck and Storaro did Woody Allen’s Closing Night film Wonder Wheel.

Festival director Kent Jones hosted the two at the Walter Reade Theater on October 11 for an all-encompassing talk of their cinematic philosophies and the cinematographers’ 40-year friendship.

Storaro and Lachman showed clips from films that inspire them and clips of their own work. The clips were a launching pad to discuss the difficult-to-pin cinematic language of photographic storytelling. We’ve included key quotes from their talk and the complete video of masterclass below.

Lachman on Storaro

Vittorio has done more in the last 50 years for the recognition and esteem of cinematography than anybody.

See full article at The Film Stage »

Woody Allen Recreates the Coney Island of His Past With ‘Wonder Wheel’ Production Team

Woody Allen Recreates the Coney Island of His Past With ‘Wonder Wheel’ Production Team
Even for a filmmaker like Woody Allen, who has dabbled in his share of period pieces, from the Roaring Twenties atmosphere of “Bullets Over Broadway” and “Midnight in Paris” to the Depression-era trappings of “The Purple Rose of Cairo,” his latest, “Wonder Wheel,” marks a bold stylistic detour.

“Period offers a lot of provocative possibilities,” Allen says of his 1950s-set ode to the Coney Island of his youth. “I wanted to do a poetic rendition. That immediately liberates you from having to be realistic all the time.”

Indeed, “Wonder Wheel” — to be released by Amazon on Dec. 1 and starring Kate Winslet as a former actress now working as a clam house waitress longing for what might have been — is a vibrant, lushly lit exercise in expressionism. And it was Vittorio Storaro, the three-time Oscar-winning cinematographer who first collaborated with Allen on “Café Society,” who really pushed the director outside his comfort zone.

“In any movie
See full article at Variety - Film News »

Filmmakers: Apply to Host a Work-in-Progress Screening at Kickstarter HQ

Filmmakers: Apply to Host a Work-in-Progress Screening at Kickstarter HQ
Editing a film can be a lonely process where filmmakers loose all objectivity about what they’re creating. Getting feedback from trusted voices and learning how a film plays to an audience is important, but renting a theater is expensive, especially for a low budget independent film.

It’s for this reason that Kickstarter has decided to open the doors to its state-of-the-art 50-person theater inside the company’s Brooklyn Headquarters to filmmakers looking for a place to screen its works-in-progress. Starting today, filmmakers who used the Kickstarter crowdfunding platform are eligible to apply for what they are calling “Rough Cut,” a program that allows the company’s theater to be booked at no charge.

The program unofficially started months ago, when the crowdfunding platform – which has been used by 106 Sundance Festival films over the last six years – started granting theater access to their alumni with films nearing completion and
See full article at Indiewire »

Cinematography Legends Vittorio Storaro and Ed Lachman Give a Once-in-a-Lifetime Master Class – Watch

Cinematography Legends Vittorio Storaro and Ed Lachman Give a Once-in-a-Lifetime Master Class – Watch
One of the joys of the New York Film Festival is that for 18 days the greatest international filmmakers descend on Lincoln Center not only to share their most recent films, but to engage in a conversation about their work and career.

This year, two of the greatest living cinematographers, Vittorio Storaro and Ed Lachman, had films at the fest – “Wonder Wheel” and “Wonderstruck” – and for 90-minutes shared the stage with festival director Kent Jones to discuss the craft to which they’ve dedicated their lives. IndieWire has the exclusive video of the entire “Master Class” below.

Lachman has shot a number of the seminal American films of the last the 30 years, including Sofia Coppola’s “Virgin Suicides” and Steven Soderbergh’s “The Limey,” but it’s been his 15-year collaboration with director Todd Haynes (“Carol”) that has defined his career. Storaro is best know to American audiences for having shot
See full article at Indiewire »

Vittorio Storaro & Ed Lachman Talk “War” Between Film And Digital & More In Masterclass [Nyff]

This year, the New York Film Festival convened a masterclass in cinematography with two legends of the form, Vittorio Storaro and Ed Lachman. Storaro has worked repeatedly with great directors like Francis Ford Coppola and Bernardo Bertolucci on visual masterpieces like “Apocalyspe Now” and “The Conformist” and lent his talents to Woody Allen’s upcoming “Wonder Wheel.” Ed Lachman has worked with filmmakers like Sofia Coppola, Steven Soderbergh, and has developed a close rapport with Todd Haynes on diverse works such as “Carol,” “I’m Not There,” and this year’s upcoming “Wonderstruck.” The two old friends and colleagues sat down with festival director Kent Jones to reflect on their careers, influences, and philosophies.

Continue reading Vittorio Storaro & Ed Lachman Talk “War” Between Film And Digital & More In Masterclass [Nyff] at The Playlist.
See full article at The Playlist »

Nyff Review: ‘Wonder Wheel’ is a Gorgeous Ride with an Empty Center

Feeling like a poor stage-to-screen adaptation in the lineage of Rent or The Producers — just without catchy songs to redeem it — Wonder Wheel is an undercooked offering from Woody Allen. Justin Timberlake plays Mickey Rubin, a fit lifeguard in a one-piece bathing suit. As is painfully clear in the opening scenes, if you’re going to cast one of the biggest pop stars in the world, at least use him for what he’s good at.

Timberlake begins the film with narration about his time at Nyu and burgeoning writing career. He does his best Allen impression, over-enunciating every word, but the character isn’t your typical, neurotic Allen surrogate. Allen instead writes the neurosis into Ginny, Kate Winslet’s character, a desperate housewife who is cheating on her husband, Humpty (Jim Belushi), with Mickey. Lacking the neurotic charm that made Jesse Eisenberg’s Cafe Society turn so endearing, Timberlake struggles with delivery here,
See full article at The Film Stage »

Woody Allen’s ‘Wonder Wheel’ Is Gorgeous But Problematic [Nyff Review]

Observed in a vacuum, “Wonder Wheel” is a kaleidoscope of lights and delights with best-in-class cinematography, perfect casting and impeccable period detail. Cinematographer Vittorio Storaro lovingly lights actors’ faces with stained-glass-window colors. Kate Winslet has rarely been better in a part that lets her talent unfurl and bloom in new ways, and Jim Belushi is great as her character’s schlubby, unsatisfying husband. Its setting in 1950s Coney Island allows costume designer Suzy Benzinger room to play, with dresses that elicit gasps of pleasure.

Continue reading Woody Allen’s ‘Wonder Wheel’ Is Gorgeous But Problematic [Nyff Review] at The Playlist.
See full article at The Playlist »

Color, Crews and Shooting Digitally: Ed Lachman and Vittorio Storaro at Nyff 2017

One of the highlights of the 55th New York Film Festival was the Master Class with Vittorio Storaro and Ed Lachman. Hosted by Kent Jones, the 90-minute presentation covered a wide range of subjects and also included key clips from the work of the two great cinematographers. Storaro and Lachman have been friends for over 40 years. Lachman claims that he was Storaro’s first American fan, after seeing both The Spider’s Stratagem and The Conformist at the 1970 Nyff. He subsequently worked with Storaro on Luna, when the Italian Dp began shooting American movies but had not yet secured a […]
See full article at Filmmaker Magazine »

Digital Cinematography Smackdown: Vittorio Storaro and Ed Lachman Debate, With Love

Digital Cinematography Smackdown: Vittorio Storaro and Ed Lachman Debate, With Love
Cinematography legends Vittorio Storaro (“Apocalypse Now,” “The Conformist”) and Ed Lachman (“Far From Heaven,” “Carol”) have been friends for 40 years. Lachman reveres Storaro’s work and leadership — but doesn’t hesitate to say he doesn’t share Storaro’s love for digital cameras.

“They can talk about 14-stop exposure range, but the color separation is different,”said Lachman. “The chemistry of R, G, B the three [color] layers — to me, it’s like an etching in the chemical process of the development. For me, there are certain films that should be photographed photographically, chemically… I can tell there’s a difference in the feeling of the film.”

The debate was part of a 90-minute conversation at the New York Film Festival October 11, moderated by festival director Kent Jones. Storaro talked about his positive transition to digital cinematography, which came largely through his collaboration with Woody Allen who directed the festival’s closing-night film,
See full article at Indiewire »

‘Wonder Wheel’ Review: Kate Winslet Is Stunning In Woody Allen’s Gorgeous ’50s Romance — Nyff

‘Wonder Wheel’ Review: Kate Winslet Is Stunning In Woody Allen’s Gorgeous ’50s Romance — Nyff
Wonder Wheel” opens with Mickey (Justin Timberlake), a wannabe playwright and current Coney Island lifeguard, staring at the camera and making an excuse on Woody Allen’s behalf: “I relish melodrama and larger-than-life characters,” he says. There are a lot of those in this lush ‘50s romance, one of the more confident Allen pictures of late, but Kate Winslet looms above them all.

As Ginny, a failed actress-turned-clam-bar-waitress yearning for something more, Winslet delivers her most powerful, emotionally resonant performance in more than a decade. Though inevitable comparisons to Cate Blanchett’s fiery turn in Allen’s “Blue Jasmine” hold water, Winslet delivers a softer, melancholic woman, with cinematographer Vittorio Storaro’s lush, expressionistic camerawork complimenting her poetic anguish. She transforms a bumbling alcoholic caricature who exudes bleak jokes about missed opportunities, injecting her with majestic sadness.

The rest is nothing we haven’t seen before, but it’s nevertheless
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“Wonder Wheel” closes Nyff with a commanding Kate Winslet turn

Just a few short hours ago, the New York Film Festival wrapped up its 2017 slate with the Closing Night Selection, Woody Allen’s latest film, the Coney Island set Wonder Wheel. In many ways, this is a coming home for the legendary filmmaker, while also managing to do something a bit different than usual. Eschewing his normal Cannes Film Festival bow before a summer release, Allen took this flick to Nyff, with a winter awards season release to come at the end of the year. He does have a contender on his hands, but perhaps not in the way we initially thought. Read on for more… The movie is a period piece set in Brooklyn’s historic Coney Island during the 1950’s. Lifeguard Mickey Rubin (Justin Timberlake) narrates this story of passion on the boardwalk. Carousel operator Humpy (James Belushi) and his rather beleaguered wife Ginny (Kate Winslet), eke out
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