Printer-friendly copy Email this topic to a friend
Lobby Pass The Popcorn Pass The Popcorn Archives topic #4269

Subject: "Cinematography 101 - School me" This topic is locked.
Previous topic | Next topic
Ace_ecA
Member since Dec 04th 2003
4799 posts
Sun Mar-14-04 09:45 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy listClick to send message via AOL IM
"Cinematography 101 - School me"


  

          

tell me things about it, that I don't know, which means everything. Also list some movies with great cinematography.

-------------------------------------
Just when I thought I was out
They pull me back in

  

Printer-friendly copy | Top


Topic Outline
Subject Author Message Date ID
RE: Cinematography 101 - School me
Mar 14th 2004
1
RE: Cinematography 101 - School me
Mar 14th 2004
2
RE: Cinematography 101 - School me
Mar 14th 2004
3
RE: Cinematography 101 - School me
Mar 14th 2004
4
rent Visions of Light
Mar 14th 2004
5
RE: rent Visions of Light
Mar 14th 2004
8
okay
Mar 14th 2004
20
     
Mar 14th 2004
28
           well
Mar 15th 2004
33
RE: Cinematography 101 - School me
Mar 14th 2004
6
ANY COEN BROTHERS MOVIE
Mar 14th 2004
7
One of the ABSOLUTE BEST:
Mar 14th 2004
9
RE: One of the ABSOLUTE BEST:
Mar 14th 2004
12
Same here.
Mar 14th 2004
14
RE: One of the ABSOLUTE BEST:
Mar 14th 2004
15
it was so good
Mar 23rd 2004
42
RE: Cinematography 101 - School me
Mar 14th 2004
10
add Rashomon to that...
Mar 14th 2004
32
Kubrick
Mar 14th 2004
11
RE: Kubrick
Mar 14th 2004
21
Great cinematographers and their films
Mar 14th 2004
13
great list
Mar 14th 2004
16
I like the list but
Mar 14th 2004
17
RE: I like the list but
Mar 14th 2004
18
I guess I should rephrase my statement
Mar 14th 2004
19
Breathless
Mar 14th 2004
22
      I wasn't implying
Mar 14th 2004
27
           understood
Mar 15th 2004
38
Daniels
Mar 14th 2004
25
      RE: Daniels
Mar 14th 2004
29
           sadly
Mar 15th 2004
36
Long List
Mar 14th 2004
23
Now that's a list
Mar 14th 2004
30
RE: Now that's a list
Mar 15th 2004
37
No ladies yet?!?!? Try Leni Riefenstahl...
Mar 15th 2004
34
      RE: No ladies yet?!?!? Try Leni Riefenstahl...
Mar 15th 2004
35
let's get technical
Mar 14th 2004
24
Books
Mar 14th 2004
26
A few more...
Mar 14th 2004
31
RE: Cinematography 101 - School me
Mar 23rd 2004
39
Archive This........n/m
Mar 23rd 2004
40
Citizen Kane, because...
Mar 23rd 2004
41
as far as composition of the shot is concerned
Mar 28th 2004
44
archive this post and delete the other one.
Mar 28th 2004
43

benny
Member since Jan 15th 2003
8435 posts
Sun Mar-14-04 09:46 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy listClick to send message via AOL IM
1. "RE: Cinematography 101 - School me"
In response to Reply # 0


  

          

L'Avventura
Saving Private Ryan
In the Mood For Love

------------------------------
For the record, my teams:
MLB: Mets / Soccer: PSG
NCAA BB: Arizona / NCAA FB: Michigan
NBA: Spurs / NFL: Jets

  

Printer-friendly copy | Top

wallysmith
Charter member
7808 posts
Sun Mar-14-04 09:55 AM

Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
2. "RE: Cinematography 101 - School me"
In response to Reply # 0


  

          

requiem for a dream

  

Printer-friendly copy | Top

jigga
Charter member
31583 posts
Sun Mar-14-04 09:57 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
3. "RE: Cinematography 101 - School me"
In response to Reply # 0


  

          

Hero
Thin Red Line
City of God


  

Printer-friendly copy | Top

LOLA34
Member since Oct 27th 2003
371 posts
Sun Mar-14-04 10:09 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
4. "RE: Cinematography 101 - School me"
In response to Reply # 0


  

          

Some noir films like Big Heat are a good example of key lighting.
Orson Wells films such as Citizen Kane and Lady From Shangai are a good example of depth-to-field and also terrific lighting.
And John Ford's films are great examples of panoramic shots.
The ones already mentioned are great as well.

Try to realise it's all within yourself
No-one else can make you change
And to see you're really only very small,
And life goes on within you and without you.
-George Harrison

  

Printer-friendly copy | Top

Mynoriti
Charter member
38818 posts
Sun Mar-14-04 10:13 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
5. "rent Visions of Light"
In response to Reply # 0


  

          

great doccumentary on cinematography.

also check thread from the archives

a few films with great cinematography:

Raging Bull
Sweet Smell of Success
Chungking Express
Cool Hand Luke
Touch of Evil
The Godfather
Manhattan
Citizen Kane
Millers Crossing
Days of Heaven
Road To Perdition

  

Printer-friendly copy | Top

    
Ace_ecA
Member since Dec 04th 2003
4799 posts
Sun Mar-14-04 11:34 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy listClick to send message via AOL IM
8. "RE: rent Visions of Light"
In response to Reply # 5
Sun Mar-14-04 11:35 AM

  

          

>great doccumentary on cinematography. Visions of Light

added to my Netflix Queue. Thanx.

-------------------------------------
Just when I thought I was out
They pull me back in

  

Printer-friendly copy | Top

    
UncleClimax
Charter member
13786 posts
Sun Mar-14-04 05:16 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
20. "okay"
In response to Reply # 5


  

          

i dont understand this cinematography business at all.

why do u have chungking express there? everything about it visually seemed so rough. while everything else on your list that ive seen was very clean and polished. was it good because it departs from that polished, predictable hollywood stuff or what? what makes for good cinematography in each of these films from a techincal pov? i just know when i have a gut feeling after watching a film if i liked it visually, and i could haphazardly maybe tell u what i liked about some memory scenes/shots. but id like to know what u guys (film nerds) use to determine whats good from whats not.

__________________
http://twitter.com/theloniousfunk
http://havetravelled.blogspot.com
http://instagram.com/arsonwelles

“Be uncomfortable; be sand, not oil, to the machinery of the world.”
- Gunter Eich

  

Printer-friendly copy | Top

        
Mynoriti
Charter member
38818 posts
Sun Mar-14-04 08:07 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
28. ""
In response to Reply # 20
Sun Mar-14-04 08:29 PM

  

          

…and it would still be interesting as hell to me. That's how I judge if something is great visually.

I'm no expert but great cinematography has nothing to do with a film looking 'smooth", 'clean' or 'polished'. Its style should usually depend on the nature of the film.

Cinematography aspects range anywhere from how the actors and background are framed within a shot, the camera movement/angles, the lighting/filters, film exposure (Doyle is great with colors). Some of that may sound minor or gimmicky but cinematography can play a huge part in how a film is perceived by its audience. Chungking Express is THE perfect example of this because if you take Christopher Doyle away from this movie, it's not even half as good. Doyle does an amazing job of capturing the chaotic atmosphere and energy of the streets of Hong Kong. His visuals create the mood for the entire film (in this case a lot of handheld shots, almost constant movement, and quick/blurred shots). Plus Doyle sometimes simply just shows us some cool ass shots. One great one that comes to mind is where Tony Leung is sitting at a counter shown at normal speed while everything else is sped up. Put an average cinematographer in this movie and it loses so much of its appeal that it becomes average. so in this case it's crucial.

It also doesn't hurt that the score works so well with the visuals here.

Same thing goes for In The Mood For Love and Fallen Angels. Every Wong Kar-wai film I've seen has been visually amazing.


  

Printer-friendly copy | Top

            
UncleClimax
Charter member
13786 posts
Mon Mar-15-04 06:44 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
33. "well"
In response to Reply # 28


  

          

thats what id always contend...that if ur aware when ur watching a movie, u dont have to really know much about cinematrography, as u'll just sort of absorb what it does to the film in your final assessment..id say its a lot like writing...when u read literature, if someone's style doesnt get in the way of the overall product, if its not distracting, or if its interesting and it actually augments the content, that constitutes an interesting or effective literary style.

so if in the end..like with chung king express.if i like the movie and feel that it effectively captured the mood of the subject matter and the nature of the setting, then im really talking about cinematography at least in part...


it would almost seem as if its not something worth talking about seperately..its just so deeply embedded in the movie. but i guess i can dig what ur saying about a cinematrographer nearly making or breaking a movie.

__________________
http://twitter.com/theloniousfunk
http://havetravelled.blogspot.com
http://instagram.com/arsonwelles

“Be uncomfortable; be sand, not oil, to the machinery of the world.”
- Gunter Eich

  

Printer-friendly copy | Top

FuriousFreddy
Charter member
17388 posts
Sun Mar-14-04 10:21 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
6. "RE: Cinematography 101 - School me"
In response to Reply # 0


          

Imitation of Life
Psycho
Vertigo
Rear Window
West Side Story

...*question* can I nominate animated films?

  

Printer-friendly copy | Top

Frank Longo
Member since Nov 18th 2003
86672 posts
Sun Mar-14-04 10:49 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
7. "ANY COEN BROTHERS MOVIE"
In response to Reply # 0


  

          

Even Intolerable Cruelty had BRILLIANT cinematography. City of God in your avatar had it, as did The Last Samurai, Cold Mountain, and House of Sand and Fog (done by the Coen Bros. cinematog). Tell ya what, the name of the Coen Bros. cinematog is Roger Deakins, look him up on imdb.com and you'll see a list of beautifully filmed movies.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

  

Printer-friendly copy | Top

Ryan M
Member since Oct 21st 2002
43744 posts
Sun Mar-14-04 11:57 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
9. "One of the ABSOLUTE BEST:"
In response to Reply # 0


  

          

Road to Perdition.

------------------------------

17x NBA Champions

  

Printer-friendly copy | Top

    
Ace_ecA
Member since Dec 04th 2003
4799 posts
Sun Mar-14-04 01:22 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy listClick to send message via AOL IM
12. "RE: One of the ABSOLUTE BEST:"
In response to Reply # 9


  

          

>Road to Perdition.

the only thing I liked about the movie.

-------------------------------------
Just when I thought I was out
They pull me back in

  

Printer-friendly copy | Top

        
Ryan M
Member since Oct 21st 2002
43744 posts
Sun Mar-14-04 02:20 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
14. "Same here."
In response to Reply # 12


  

          

Movie was aiight.

Cinematography was amazing.

------------------------------

17x NBA Champions

  

Printer-friendly copy | Top

        
jigga
Charter member
31583 posts
Sun Mar-14-04 02:38 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
15. "RE: One of the ABSOLUTE BEST:"
In response to Reply # 12


  

          

>>Road to Perdition.
>
>the only thing I liked about the movie.

Ditto

  

Printer-friendly copy | Top

    
k_orr
Charter member
80197 posts
Tue Mar-23-04 02:49 PM

Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy listClick to send message via AOL IM
42. "it was so good"
In response to Reply # 9


  

          

even I noticed how good it was.

I'd co-sign on some of the Coen Bros stuff (the snow scene in Fargo shot from way up specificall)

And I'd mention some cool shots in Kill Bill Vol 2.

one
k. orr

http://breddanansi.tumblr.com/

  

Printer-friendly copy | Top

JTBLQ
Member since Jun 06th 2003
15925 posts
Sun Mar-14-04 12:09 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy listClick to send message via AOL IM
10. "RE: Cinematography 101 - School me"
In response to Reply # 0


  

          

Anything by Akira Kurosawa...esp Seven Samurai, Yojimbo, and Hidden Fortress(the movie in which Star Wars is loosly based).
Go to blackbuster/moviegallery/hollywoodvideo/mom'n'pop/ and go to the foreign section. You'll be glad you did.


Does an okayplayer = high
minded fucking snob?

I didn't think so...

I ain't like that... well, I hope not.

My site is http://www.geocities.com/jtblq/
just vibes and stuff...
Tell me what you think...really.

____
GO GO AMIGO.

http://jtblq.deviantart.com/gallery
http://jtblq.deviantart.com/store
http://jtblq.deviantart.com/

  

Printer-friendly copy | Top

    
okaycomputer
Member since Dec 02nd 2002
8090 posts
Sun Mar-14-04 11:03 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
32. "add Rashomon to that..."
In response to Reply # 10


          

the trees/shadows are forever lasting images in my head. just perfect.
.

illgaluminatiitanimulaglli

  

Printer-friendly copy | Top

mc_delta_t
Charter member
8260 posts
Sun Mar-14-04 01:03 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
11. "Kubrick"
In response to Reply # 0


  

          

especially 2001 and Barry Lyndon

I can't think of any better "classical" cinematography

  

Printer-friendly copy | Top

    
UncleClimax
Charter member
13786 posts
Sun Mar-14-04 05:20 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
21. "RE: Kubrick"
In response to Reply # 11


  

          

Barry Lyndon
>
>I can't think of any better "classical" cinematography

thats the illness. everything in it looked like a goddamn painting from the period. perfect.

__________________
http://twitter.com/theloniousfunk
http://havetravelled.blogspot.com
http://instagram.com/arsonwelles

“Be uncomfortable; be sand, not oil, to the machinery of the world.”
- Gunter Eich

  

Printer-friendly copy | Top

King_Friday
Member since Nov 22nd 2002
3087 posts
Sun Mar-14-04 01:23 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
13. "Great cinematographers and their films"
In response to Reply # 0


  

          

These are not complete filmographies by any means.

Gregg Toland:

Wuthering Heights - by William Wyler
The Grapes Of Wrath - by John Ford
Citizen Kane - by Orson Welles
Ball Of Fire - by Howard Hawks
The Best Years Of Our Lives - by William Wyler

Raoul Coutard:

Breathless - by Jean-Luc Godard
Jules And Jim - Francois Truffaut
My Life To Live - Jean-Luc Godard
Contempt - Jean-Luc Godard
Band Of Outsiders - Jean-Luc Godard
Alphaville - Jean-Luc Godard
Z - by Costa-Gavras

Sven Nykvist:

Through A Glass Darkly - by Ingmar Bergman
Winter Light - Ingmar Bergman
The Silence - Ingmar Bergman
Persona - Ingmar Bergman
Cries And Whispers - Ingmar Bergman
Crimes And Misdemeanors - Woody Allen
Celebrity - Woody Allen

Other essential cinematographers with too many great credits to choose from:

William H. Daniels (did ridiculous amount of good movies)
Karl Freund
Joe MacDonald
James Wong Howe
Winton C. Hoch

  

Printer-friendly copy | Top

    
DrNO
Charter member
25381 posts
Sun Mar-14-04 02:57 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy listClick to send message via AOL IM
16. "great list"
In response to Reply # 13


  

          

before Coutard was Henri Decaë though (Bob Le Flambuer, The 400 Blows, The Cousins, Le Beau Serge).

_
http://youtube.com/watch?v=4TztqYaemt0
http://preptimeposse.blogspot.com/

  

Printer-friendly copy | Top

    
LOLA34
Member since Oct 27th 2003
371 posts
Sun Mar-14-04 03:52 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
17. "I like the list but"
In response to Reply # 13


  

          

I don't know about Breathless in the sense of showing it to somebody to teach them cinematography. To me the cinematography in Breathless was soo good because it broke every rule in the book. So I'm not sure how good it would be to recommend Breathless to teach somebody about cinematography, but certainly it should be recommended afterwards. But really all you need is L'Avventura as a reference guide in my mind. Also I finally saw The Passion the other day and I thought that movie did a very nice job in terms of various POV shots.

Try to realise it's all within yourself
No-one else can make you change
And to see you're really only very small,
And life goes on within you and without you.
-George Harrison

  

Printer-friendly copy | Top

        
King_Friday
Member since Nov 22nd 2002
3087 posts
Sun Mar-14-04 04:13 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
18. "RE: I like the list but"
In response to Reply # 17


  

          

>I don't know about Breathless in the sense of showing it to
>somebody to teach them cinematography. To me the
>cinematography in Breathless was soo good because it broke
>every rule in the book.

It's soo good, but you wouldn't recommend it?

I think it's okay if it broke all the rules.

I mean James Joyce broke all the rules about writing novels, but I would still recommend Ulysses to someone wanting to know about great novels.

>But really all you need is L'Avventura as a
>reference guide in my mind.

Well that ain't exactly "normal" either.

But I love it.

You're a pretty big Antonioni fan aren't you?

Me too though. I'm with you on that one.

But I think as far as "reference guides" go, you'd probably want to look at Gregg Toland's work. Especially Citizen Kane (which broke as many rules as Breathless in its day). And you'd probably want to look at Jean Renoir's "The Rules Of The Game". Rules would show you "how to" and also "why to".

>Also I finally saw The Passion
>the other
>day and I thought that movie did a very nice job
>in terms of various POV shots.

I haven't seen it. I don't want to either. The last thing I want to see is a movie about Jesus directed by a right-wing looney.

  

Printer-friendly copy | Top

            
LOLA34
Member since Oct 27th 2003
371 posts
Sun Mar-14-04 04:43 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
19. "I guess I should rephrase my statement"
In response to Reply # 18


  

          

I meant as an example to somebody wanting to know the basics of cinematography. The thing that I was thinking of is that they spent barely anytime setting up the shot in Breathless, I remember reading a quote by I think it was Godard that said I'd rather spend two minutes to shoot for two hours than setup up a scene for two hours to shoot for two minutes, If I'm miss quoting than forget what I said. But the cafe scene in Breathless would be a great scene to show anybody interested in cinematography.

Try to realise it's all within yourself
No-one else can make you change
And to see you're really only very small,
And life goes on within you and without you.
-George Harrison

  

Printer-friendly copy | Top

        
colonelk
Member since Dec 10th 2002
5058 posts
Sun Mar-14-04 07:04 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
22. "Breathless"
In response to Reply # 17


  

          

Could not have looked that good that rushed if someone as talented as Coutard wasn't behind the camera. As natural as that film was, there WAS supplemental lighting at times. And when only practicals and/or daylight was used, it was used in a thoughtful manner to contribute to the film as a whole.

Too often films that look pretty are considered good cinematography and films that look rough (except for the extra-showy rough films like Private Ryan) are considered easy. Sternbeg films have a million lights and look great. Nestor Almendros's use almost none (most of time) and look beautiful in their own way.

--------

hell-below.com

  

Printer-friendly copy | Top

            
LOLA34
Member since Oct 27th 2003
371 posts
Sun Mar-14-04 07:49 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
27. "I wasn't implying"
In response to Reply # 22
Sun Mar-14-04 07:58 PM

  

          

that Breathless was just done sloppy, or that it's a bad example, I'm a huge fan of Godard and Coutard's work. All I was saying was that I would wait to give Breathless to some until they knew something about cinematography. But I think I'm just going to stop because I agree with everything that has been said and I obviously not being able to phrase anything right and I don't want to put my foot in my mouth any deeper than it already is.

Try to realise it's all within yourself
No-one else can make you change
And to see you're really only very small,
And life goes on within you and without you.
-George Harrison

  

Printer-friendly copy | Top

                
colonelk
Member since Dec 10th 2002
5058 posts
Mon Mar-15-04 05:29 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
38. "understood"
In response to Reply # 27


  

          

Keep chiming in. I'm too eager to look for sources of disagreement.

--------

hell-below.com

  

Printer-friendly copy | Top

    
colonelk
Member since Dec 10th 2002
5058 posts
Sun Mar-14-04 07:24 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
25. "Daniels"
In response to Reply # 13


  

          

Thanks for bringing him to my attention. Didn't know this guy. I'd seen a bunch of those films and never put two and two together.

The Naked City is phenomenal early location shooting. With the speed of films they were using in 1947, accomplishing what he did is no easy task.

--------

hell-below.com

  

Printer-friendly copy | Top

        
King_Friday
Member since Nov 22nd 2002
3087 posts
Sun Mar-14-04 08:09 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
29. "RE: Daniels"
In response to Reply # 25


  

          

>Thanks for bringing him to my attention. Didn't know this
>guy. I'd seen a bunch of those films and never put two and
>two together.

He and Karl Freund co-photographed my favorite George Cukor movie: Camille.

That movie also features what is probably my favorite Greta Garbo performance.

As a matter of fact, Daniels photographed A LOT of Greta Garbo's movies.

He's done everything. So many classics to his credit:

Ninotchka, Shop Around The Corner. . . he even did Harvey!

He also did "Greed" in 1924 which I STILL have not seen, but I've got to soon. "I can't hold out much longer." (c) George Jones






  

Printer-friendly copy | Top

            
colonelk
Member since Dec 10th 2002
5058 posts
Mon Mar-15-04 05:12 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
36. "sadly"
In response to Reply # 29


  

          

I've never seen Greed either. Part of it is knowing whatever I see won't be the best version. I had this problem with Ambersons for a long time until I finally made myself watch it.

--------

hell-below.com

  

Printer-friendly copy | Top

colonelk
Member since Dec 10th 2002
5058 posts
Sun Mar-14-04 07:15 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
23. "Long List"
In response to Reply # 0


  

          

But if you become familiar with all these gentlemen (sorry, no ladies yet), you will be well versed in cinematography:


Gregg Toland (Grapes of Wrath, Citizen Kane, Best Years of Our Lives)

Sven Nykvist (Persona, The Tenant, Crimes and Misdemeanors)

Gordon Willis (Godfather I & II, All the President’s Men, Manhattan)

Vittorio Storaro (The Conformist, Apocalypse Now, One From the Heart, The Last Emperor)

Kubrick/John Alcott (2001, Clockwork Orange, Barry Lyndon)

Kazuo Miyagawa (Rashomon, Floating Weeds, Yojimbo)

Karl Freund (Der Letzte Mann, Metropolis, invented sitcom lighting)

Nestor Almendaros (Days of Heaven, Kramer vs. Kramer)

Stanley Cortez (Magnificent Ambersons, The Night of the Hunter, Shock Corridor)

James Wong Howe (Sweet Smell of Success, Seconds, Hud)

Gianni Di Venanzo (8 ½, Juliet of the Spirits)

Haskell Wexler (Virginia Woolf, American Graffiti, One Flew Over the Cuckoo’s Nest, Matewan)

Asakazu Nakai (Seven Samurai, High and Low, Ran)

Slawomir Idziak (Double Life of Vernonique, Blue, Men With Guns, Black Hawk Down)

Conrad Hall (Cool Hand Luke, Hell in the Pacific, Butch Cassidy and the Sundance Kid, Road to Perdition)

Christopher Doyle (Chungking Express, Happy Together, In the Mood for Love, Quiet American)

Rollie Totheroh (The Gold Rush, City Lights, The Great Dictator)

Sergei Uresevsky (The Cranes Are Flying, I Am Cuba)

Raoul Coutard (Breathless, Contempt, Weekend)

Carlo di Palma (Red Desert, Blowup, Husbands and Wives)

Karl Struss (Sunrise, Ben-Hur , The Great Dictator)

Robert Burks (Vertigo, North by Northwest)

Janusz Kaminski (Schindler’s List, Minority Report)

Michael Ballhaus (Goodfellas, Gangs of New York)

Vilmos Zsigmond (McCabe & Mrs. Miller, Images, Close Encounters of the 3rd Kind)

Robert Richardson (Eight Men Out, Casino, Fast Cheap and Out of Control)

Vadim Yusov (Childhood of Ivan, Andrei Rublev, Solaris)

Owen Roizman (The French Connection, Network)

Zhao Fei (Raise the Red Lantern, Sweet and Lowdown)

Bill Butler (The Conversation, Jaws)

Otello Martelli (Paisa, La Strada, Nights of Cabiria)

Thomas Mauch (Aguirre the Wrath of God, Stroszek, Fitzcarraldo)

Rudolph Maté (Passion of Joan of Arc, Lady From Shanghai)

Subrata Mitra (The Apu Trilogy, Devi, Charulata)

Roger Deakins (1984, Miller’s Crossing, Passion Fish)

Charles Lang (The Big Heat, Ace in the Hole, Some Like it Hot)

Frederick Elmes (Eraserhead, Blue Velvet, The Ice Storm)

Tak Fujimoto (Badlands, Silence of the Lambs)

Robert Krasker (The Third Man, Great Expectations)

Arthur Edeson (Frankenstein, The Maltese Falcon, Casablanca)

Eduard Tisse (Alexander Nevsky, Ivan the Terrible)

Winton Hoch (The Quiet Man, The Searchers)

Freddie Young (Limelight, Lawrence of Arabia)

Edmond Richard (The Trial, Chimes at Midnight, Discreet Charm of the Bourgeoisie)

Victor J. Kemper (Dog Day Afternoon, Pee Wee’s Big Adventure)

Elgin Lessley (Sherlock Jr., Our Hospitality)

Caleb Deschanel (A Woman Under the Influence, The Right Stuff)

William Fraker (The President’s Analyst, Rosemary’s Baby, Bullitt)

Robert Surtees (The Bad and the Beautiful, Ben-Hur, The Graduate)

Jack Cardiff (Black Narcissus, The Red Shoes)

Michael Chapman (Taxi Driver, Raging Bull)

Russell Metty (Touch of Evil, Imitation of Life, Spartacus)

Darius Khondji (Delicatessen, City of Lost Children, Seven)

Sacha Vierny (Hiroshima Mon Amour, Pillow Book)

Robby Muller (Paris Texas, Breaking the Waves)

Tonino Delli Colli (Once Upon a Time in the West, The Good the Bad and the Ugly)

Lucien Ballard (The Killing, The Wild Bunch)

Jack Hildyard (Henry V , Bridge on the River Kwai)

Bert Glennon (The Scarlet Empress, Stagecoach)

Leonce-Henri Burel (Napoleon, A Man Escaped)

Gunther Rittau (The Blue Angel, Metropolis)

Joseph LaShelle (Laura, Marty, The Apartment)

Ernest R. Dickerson (Do the Right Thing)

Boris Kaufman (On the Waterfront, 12 Angry Men)

--------

hell-below.com

  

Printer-friendly copy | Top

    
King_Friday
Member since Nov 22nd 2002
3087 posts
Sun Mar-14-04 08:35 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
30. "Now that's a list"
In response to Reply # 23


  

          

How come you don't post more colonel? You ought to. Bringing folks like this up.

>Karl Freund (Der Letzte Mann, Metropolis, invented sitcom
>lighting)

Didn't he also start a 3 camera system for filming tv shows?

Did you ever see a film he directed called "Mad Love?"

It's a horror movie with a stupid plot that's been copied over and over again ever since, but it still manages to be really good. It stars Peter Lorre.

Chester Lyons and Gregg Toland did the photography on that one.

>Christopher Doyle (Chungking Express, Happy Together, In the
>Mood for Love, Quiet American)

You know I don't think I realized he did the Quiet American? How bout that. I like that one a lot.

>Rollie Totheroh (The Gold Rush, City Lights, The Great
>Dictator)

I applaud this selection. Amen. He did most all of Chaplin's great masterpieces. I love the look of Modern Times especially. Hell yes.

>Karl Struss (Sunrise, Ben-Hur , The Great
>Dictator)

Don't forget Chaplin's "Limelight". Another of the "best looking" of Chaplin's films.

>Otello Martelli (Paisa, La Strada, Nights of Cabiria)

some of that "ugly" photography that's actually incredible to look at. I especially like his work on Rossellini's "Stromboli".

>Rudolph Maté (Passion of Joan of Arc, Lady From Shanghai)

To his list I would add "Sahara" directed by Zoltan Korda, Lubitsch's "To Be Or Not To Be", Hitchcock's "Foreign Correspondent."

And if you've never seen his excellent movie as a director "D.O.A." then you gotta check it out.

>Charles Lang (The Big Heat, Ace in the Hole, Some Like it
>Hot)

To his list I would add Frank Borzage's "A Farewell To Arms" from 1932. Lang did some of his best work there and won an oscar for it too.

But yeah, I hope people pay attention to your reply. Lots to learn.

  

Printer-friendly copy | Top

        
colonelk
Member since Dec 10th 2002
5058 posts
Mon Mar-15-04 05:27 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
37. "RE: Now that's a list"
In response to Reply # 30


  

          

>How come you don't post more colonel? You ought to.
>Bringing folks like this up.

Busy fighting in the army of cinema. I like talking about movies, but I like making movies even more.


>
>>Karl Freund (Der Letzte Mann, Metropolis, invented sitcom
>>lighting)
>
>Didn't he also start a 3 camera system for filming tv shows?

Yep. Was the visual guru behind I Love Lucy, which, for those who don't know, was the first modern sitcom. To Lucille Ball's credit, she let Karl take forever with the lights against the wishes of everybody else.

>Did you ever see a film he directed called "Mad Love?"

Never seen it. I knew Toland was a Freund apprentice.

>>Rollie Totheroh (The Gold Rush, City Lights, The Great
>>Dictator)
>
>I applaud this selection. Amen. He did most all of
>Chaplin's great masterpieces. I love the look of Modern
>Times especially. Hell yes.

Too few appreciate how well shot these films were. It's easy to see why Toland's work is so great (not to slight it, but his work is showy).

>Rudolph Maté (Passion of Joan of Arc, Lady From Shanghai)
>
>To his list I would add "Sahara" directed by Zoltan Korda,
>Lubitsch's "To Be Or Not To Be", Hitchcock's "Foreign
>Correspondent."
>
>And if you've never seen his excellent movie as a director
>"D.O.A." then you gotta check it out.

I haven't. I will do so.

>But yeah, I hope people pay attention to your reply. Lots
>to learn.

Unlikely. I should have trimmed the list for maximum effectiveness. Glad you appreciated it, though.

--------

hell-below.com

  

Printer-friendly copy | Top

    
Mr Mech
Member since Jul 02nd 2002
8373 posts
Mon Mar-15-04 04:42 PM

Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
34. "No ladies yet?!?!? Try Leni Riefenstahl..."
In response to Reply # 23


          

Mech

  

Printer-friendly copy | Top

        
colonelk
Member since Dec 10th 2002
5058 posts
Mon Mar-15-04 05:11 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
35. "RE: No ladies yet?!?!? Try Leni Riefenstahl..."
In response to Reply # 34


  

          

Umm, she wasn't a DP. I don't doubt that she had a lot of input on the photography of her films, but the above list was all Directors of Photography.

I appreciate the works of quite a few female directors. And there ARE some quite good female DPs. I hope a few of them shoot some films as good as the ones on this list.

--------

hell-below.com

  

Printer-friendly copy | Top

FuriousFreddy
Charter member
17388 posts
Sun Mar-14-04 07:21 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
24. "let's get technical"
In response to Reply # 0


          

how much do you know about 35 mm film?

how much do you WANT to know?

any particualar questions you have?

  

Printer-friendly copy | Top

colonelk
Member since Dec 10th 2002
5058 posts
Sun Mar-14-04 07:28 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
26. "Books"
In response to Reply # 0


  

          

If you want to know how to actually do it, check out some of these books:

http://www.cinematography.net/Books.htm

John Alton's Painting with Light is the foundation, but it's technological stuff is dated. Still a good read.

--------

hell-below.com

  

Printer-friendly copy | Top

kurlyswirl
Member since Jul 13th 2002
16693 posts
Sun Mar-14-04 10:12 PM

Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy listClick to send message via AOL IM
31. "A few more..."
In response to Reply # 0
Sun Mar-14-04 11:01 PM

  

          

Girl with a Pearl Earring
Raise the Red Lantern
The Shawshank Redemption (Roger Deakins, mentioned above)
Amelie
Fargo
The Lover
The Quiet American
Osama

And of course, Road to Perdition, City of God and Rear Window, already noted. ks


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Such a catchy little tune!

"Swinging Belleville rendez-vous
Marathon dancing doop dee doop
Vaudou Cancan balais taboo
Au Belleville swinging rendez-vous" --

~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~

"I predict...................Nadal will embarrass dudes" - Deebot

http://www.facebook.com/kurlyswirl

I be Scrobblin': http://www.last.fm/user/TasteeTreat/

  

Printer-friendly copy | Top

7thwardhardhead
Member since Feb 20th 2003
924 posts
Tue Mar-23-04 07:42 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy listClick to send message via AOL IM
39. "RE: Cinematography 101 - School me"
In response to Reply # 0


  

          

good post thanks for the info

------------------------------
I'm not like you and I cannot pretend. Cee Lo

I Will Not Lose! S.Carter

Shit on that Shit! ???

Don't compare me to you nigga you ain't this! Malice

Sit your five dollar ass down before I make change!
-Nino Brown

Where you at? If your mind is somewhere else then pick your ass up and take it over there and keep it company. I'm not having my time wasted by some half-ass, fish cake opponent today.
Samuel L. Jackson
...........Fresh..............

When you see you're playin' a man who feels naked without his lady, use her. Jump in there and take her, tease her, threaten her and he won't be able to think about his game anymore. That's when you make your real move.
.......Same as Above..........

You ready to be the king!
.......Same as Above..........



------------------------------
I Will Not Lose! S.Carter

Don't compare me to you nigga you ain't this! Malice

Sit your five dollar ass down before I make change!

fuk ticket master $14 in fees is ass rape

  

Printer-friendly copy | Top

Ace_ecA
Member since Dec 04th 2003
4799 posts
Tue Mar-23-04 08:32 AM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy listClick to send message via AOL IM
40. "Archive This........n/m"
In response to Reply # 0


  

          


-------------------------------------
Just when I thought I was out
They pull me back in

  

Printer-friendly copy | Top

sean
Charter member
512 posts
Tue Mar-23-04 02:35 PM

Click to send email to this author Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
41. "Citizen Kane, because..."
In response to Reply # 0


          

Shit was shot full frame 4:3. Too many modern cinematographers rely/lean on 1 and anamorphic (2.35:1) to make things look "interesting". Coming from a production background, I'm always amazed by how well Toland framed his shots in the somewhat uninspiring 4:3 format. And as was mentioned before, his master use of lighting and depth of field is undeniable.

For more modern examples, Road to Perdition (again, as mentioned before) is a modern cinematography classic. Again, not the best all-around movie in recent history, but masterfully shot.

sean

---------------

I don't really believe in God
But God, I'm scared to death of God?!?
I swear to God, I never meant to spill
the beans
Nor tear the Bible
- Aesop Rock "Big Bang"

  

Printer-friendly copy | Top

    
ricky_BUTLER
Member since Jul 06th 2003
16899 posts
Sun Mar-28-04 08:33 PM

Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
44. "as far as composition of the shot is concerned"
In response to Reply # 41


          

for Citizen Kane look at

Murnau's 1927 Sunrise
James Wong Howe's cinematography in 1931's Transatlantic
Karl W. Freund's 1935 Mad Love (cinematography by Toland)
John Ford 1939 Stagecoach

plus

http://home.earthlink.net/~davidp_hayes/Articles/a01.html

Most of us know the esteemed position accorded "Citizen Kane" in film-history books. Arthur Knight's well-regarded 1957 book "The Liveliest Art" accords it space and praise. David A. Cook's "A History of Narrative Film" (Norton, 1981) gives "Citizen Kane" a full section (comprising of three of the four sections within a one of the book's seventeen chapters). A Prentiss-Hall textbook, "Understanding Movies" (Fifth Edition, 1990) devotes the final chapter to it, calling it "Synthesis," and using the film to deal with the topics of the previous ten chapters.

Pauline Kael wrote a "New Yorker" essay subsequently published in book form in which she discusses some of the earlier films to use techniques which others have attributed to "Kane." Some other such writers have not been cautious about acknowledging earlier films which have a better claim to originating "Welles's" techniques.

It was recently posted about "Citizen Kane" using footage from RKO's earlier "King Kong" as background. Footage, though, is not the only thing in "Citizen Kane" to have been used earlier. For all the lavish praise heaped upon "Citizen Kane" for its originality, there are too many attributions to it that "scholars" have made that the film doesn't deserve.

Herein is my list of techniques employed in "Citizen Kane" which saw earlier use in films made by directors other than Welles.

Knight would write that, "Of two films, 'Kane' has received the greater attention, ... partly because of its unique four-part story construction...." Yet multiple flashbacks and storytellers were to be found in: "The Power and the Glory" (1933). Preston Sturges wrote the screenplay about the rise of a railroad tycoon from obscure origins, opening with discussion of his death, then having two characters (one of whom had known him for many decades) relate in flashback the events of the man's life; when the film returns to the present, we hear the two narrator's opposing evaluations of the protagonist's moral character. (Sturges reportedly opened his written-directed "Sullivan's Travels" (1941) with a film-within-a-film revealed to having been shown in a projection room, so as to copy from Welles after Welles had copied from him.)

Fake newspaper headline merely an alternative: "You Only Live Once" (1937). In "Kane," we see a newspaper headline reading "Kane Governor" before we discover this is merely a mock-up in a newspaper office; subsequently, the Enquirer's personnel opt to print instead "Fraud at Polls." In "You Only Live Once," after the fate of Henry Fonda' character has been put in the hands of a jury, we see a headline reading "Taylor Freed in Massacre!," then one reading "Taylor Jury Deadlocked!" As in "Kane" four years later, a newspaper editor makes a selection, and it is for the third mock-up: "Taylor Guilty!"

Opening/closing on a mansion, in fact a matte, with smoke: "Rebecca" (1940)

Fake newsreel that is not revealed to be a film-within-a-film until its length has been run, and thus can be mistaken by the audience to not be part of the feature film: "The Bellamy Trial" (1929) with Leatrice Joy and Betty Bronson. Alexander Walker's "The Shattered Silents" describes film as "one long courtroom scene punctuated by flashbacks.... It opened without title or cast credits: simply a newsreel-type prologue of documentary impact leading up to the court-house and the start of the trial, a device calculated to gain authority from the public's familiarity with the new sound newsreels." (Oddly enough, although M-G-M distributed this film, it had been produced by the Hearst News Service.) As "Kane" viewers should know, "Kane" lacks opening cast and credits listings, although the film begins with a studio logo, a "Mercury" title, and a main title. Given that the main title and the fake newsreel are separated by the impressionistic death sequence, audience members of 1941 might not have been settled into the feature film before being hit with the title of "News on the March."

A marriage disravels in a shot of a meal being consumed at a table with a large gulf separating the spouses: "Rebecca" (1940). (The 1940 film does not have "Kane"'s quick cutaways from one year to another, but the latter technique does have predecessors, to be listed by me later.)

Shots are framed to include ceilings: many Hitchcock British films, several lesser-known American 1930s features.

Lengthy shots: "Rebecca" (1940), "Shop Around the Corner" (1940).

Expressionist photography to make scary a shot of a bald man: "Mad Love" (1936, photographed by "Kane" cinematographer Gregg Toland)

Deep focus: "Working Girls" (1931), "Rebecca" (1940), "Dead End" (1937, another Toland work)

Moving shot that "wipes" in a miniature or distant set: "King Kong" (1933), "Algiers" (1938). It is often reported that in "Kane," the catwalk of the opera house where Susan Alexander performs, was not physically connected to the stage, and neither of them were in reality linked to the intervening ropes, although all three "elements" were optically combined to make one shot. In "Kong," the exterior shot of the theater where Kong will be unveiled is made up partially of newsreel footage shot at the premiere of "City Lights." In "Algiers," the final shot begins with Charles Boyer and Joseph Calleia on a dock, then pans up to what they were watching: a ship leaving; that ship was optically added to "Algiers" by copying it from the final shot from "Pepe Le Moko," the film of which "Algiers" is a remake.

Blonde second wife shown lonely within large rooms: "Rebecca" (1940). (I credit Rudy Belmer's laserdisc commentary track for "Rebecca" for pointing out the "Rebecca"/"Kane" similarities cited here.)

* * * * * * * * * * * * *

Welles's use of sound has drawn attention, not only for how he used it in "Citizen Kane," but also in his next film, "The Magnificent Ambersons." The following passage, from Knight's "The Liveliest Art," is typical:

"In radio Welles had developed a special montage technique using a crescendo of voices, each saying a sentence or sometimes merely a fragment of a sentence. This he carried over into film, photographing the various speakers in close-up against a blank background. Spliced together in quick succession, the shots gave the impression of a whole town talking--and, equally important, what the town was talking about. Welles even altered traditional dialogue techniques to create a more vivid, more realistic feeling in his scenes. It has long been a stage--and now a movie--convention to permit one character to complete a speech before the next begins to reply. Actual conversations of course, rarely progress in this fashion. One person speaks and then, often before he has finished the sentence, the listener interrupts with his own opinion. In a roomful of people, no one dreams of remaining silent until one speaker has completed his remarks. Numerous conversations take place simultaneously, overlapping one another, even drowning out one another. Welles, after seeking to reproduce this effect in radio, found it even more suitable for films, where the source of the words is always visible. He had toyed with it a bit in 'Citizen Kane,' as in the quick succession of breakfast quarrels that signal the growing estrangement between Kane and his wife...."

But there were predecessors:

Cutting mid-line to have another character finish the line, as if everyone is thinking and talking about the same thing: "The Half- Naked Truth" (1932), which starred Lee Tracy and Lupe Velez, although the scene in question was of one-scene players.

Cutting mid-line to have another countryman finish the line: "Penn of Pennsylvania" (U.S. title: "Courageous Mr. Penn") (British 1941).

Overlapping dialogue: "Unaccustomed As We Are" (Laurel & Hardy short, 1929) and its remake, "Blockheads" (1938); "The Front Page" (1931) and its remake, "His Girl Friday" (1940).

* * * * * * * * * * * * *

Knight praised in "The Magnificent Ambersons" "...the long carriage ride through the town's main street, the camera catching in the polished windows the reflection of buildings and people on the other side of the street to create an extraordinary sense of the three-dimensional reality of the town itself."

Yet the technique in "Magnificent Ambersons" had predecessors:

Shiny windows reveal other side of street: "Four Sons" (1928) and especially "Riley the Cop" (1928), both by John Ford. (It should be recalled that Welles would state that he learned film technique from seeing forty viewings of Ford's "Stagecoach.")

  

Printer-friendly copy | Top

ricky_BUTLER
Member since Jul 06th 2003
16899 posts
Sun Mar-28-04 08:28 PM

Click to send private message to this authorClick to view this author's profileClick to add this author to your buddy list
43. "archive this post and delete the other one."
In response to Reply # 0


          

archive this one and delete

and in case anything is forgotten in here, here's that one reapplied.

i know who russell metty is because of touch of evil
who stanley cortez is because of night of the hunter
who janusz kaminski is because of saving private ryan

Conrad Hall-
Declaration of Independance (2003) (V)
Road to Perdition (2002)
American Beauty (1999)
Civil Action, A (1998)
Without Limits (1998)
Love Affair (1994)
Searching for Bobby Fischer (1993)
... aka Innocent Moves (1993)
Jennifer Eight (1992)
... aka Jennifer 8 (1992) (USA: video box title)
Class Action (1991)
Tequila Sunrise (1988)
Black Widow (1987)
It Happened One Christmas (1977) (TV) (as Conrad Hall)
Marathon Man (1976) (as Conrad Hall)
Smile (1975)
Day of the Locust, The (1975) (as Conrad Hall)
Catch My Soul (1974)
... aka Santa Fe Satan (1974)
Electra Glide in Blue (1973) (as Conrad Hall)
Fat City (1972) (as Conrad Hall)
Happy Ending, The (1969)
Tell Them Willie Boy Is Here (1969) (as Conrad Hall)
Trilogy (1969) (segment "A Christmas Memory")
... aka Truman Capote's Trilogy (1969) (USA)
Butch Cassidy and the Sundance Kid (1969) (as Conrad Hall) (director of photography)
Rogues' Gallery (1968/I) (as Conrad Hall)
Hell in the Pacific (1968) (as Conrad Hall)
In Cold Blood (1967)
Cool Hand Luke (1967) (as Conrad Hall)
Divorce American Style (1967) (as Conrad Hall)
Professionals, The (1966) (as Conrad Hall) (director of photography)
Harper (1966) (as Conrad Hall)
... aka Moving Target, The (1966) (UK)
Incubus (1965)
Morituri (1965) (as Conrad Hall)
... aka Saboteur, Code Name Morituri, The (1965) (UK)
Wild Seed (1965)
... aka Fargo (1965)
Ghost of Sierra de Cobra, The (1964) (TV)
... aka Haunted, The (1964) (TV) (USA)
Unknown, The (1964) (TV)
"Outer Limits, The" (1963) TV Series
"Stoney Burke" (1962) TV Series
Edge of Fury (1958) (as Conrad Hall)

Roger Deakins-
Village, The (2004) (post-production)
Ladykillers, The (2004)
House of Sand and Fog (2003)
Intolerable Cruelty (2003)
Levity (2003)
Beautiful Mind, A (2001) (director of photography)
Dinner with Friends (2001) (TV)
Man Who Wasn't There, The (2001)
Thirteen Days (2000)
... aka Thirteen Days Which Shocked the World (2000) (USA)
O Brother, Where Art Thou? (2000)
... aka O' Brother (2000) (France)
Anywhere But Here (1999)
Hurricane, The (1999)
Siege, The (1998)
Big Lebowski, The (1998)
Kundun (1997)
Courage Under Fire (1996)
Fargo (1996)
Dead Man Walking (1995) (as Roger A. Deakins)
Rob Roy (1995) (uncredited)
Shawshank Redemption, The (1994)
Hudsucker Proxy, The (1994)
... aka Hudsucker - Der große Sprung (1994) (Germany)
Secret Garden, The (1993)
Passion Fish (1992)
Thunderheart (1992)
Barton Fink (1991)
Homicide (1991)
Long Walk Home, The (1990)
Air America (1990)
Mountains of the Moon (1990)
Donna della luna, La (1988)
... aka Moon Woman, The (1988) (Australia: literal English title)
... aka Woman in the Moon (1988)
Pascali's Island (1988)
... aka Isola di Pascali, L' (1988) (Italy)
Stormy Monday (1988)
White Mischief (1987)
Kitchen Toto, The (1987)
Personal Services (1987)
Sid and Nancy (1986)
... aka Sid and Nancy: Love Kills (1986)
Defence of the Realm (1985)
... aka Defense of the Realm (1986) (USA)
Innocent, The (1985)
Return to Waterloo (1985)
Shadey (1985)
House, The (1984) (TV)
Nineteen Eighty-Four (1984)
Alan Bush: A Life (1983)
Another Time, Another Place (1983)
Towers of Babel (1981)
Van Morrison in Ireland (1980)
Blue Suede Shoes (1980)
Steppin' Out (1979)
Before Hindsight (1977)
Cruel Passion (1977)
... aka De Sade's Justine (1977)
... aka Justine (1977)
... aka Marquis de Sade's Justine (1977)
Empty Hand (1977)
Welcome to Britain (1976)

A cinematographer and a DP (director of photography) are one in the same. But the cinematographer may not necessarily be the actual person shooting. A DP's duties usually include arrangement and selection of shots; angles, lighting choices, lenses, film stocks, how the film is processed, deciding which takes are processed and which takes are not. Basically they are in charge of the entire camera department which consists of its own crew, from loaders to production assistants, to grips, operators, runners,and even gaffers answer to the DP (some people even define a cinematographer as a composer of light) who in turn answers to the Director.

Sven Nykvist (reference Bergman)
Raoul Coutard (reference Nouvelle Vague)

Chris Doyle - who shoots Wong Kar-Wai's films
Raoul Coutard - who did a lot of the early Nouvelle Vague stuff
Gordon Willis - The Godfather, Stardust Memories
Malik Sayeed - Belly, Life + Debt
Barry Sonenfeld - can't stand him as a director, but he did some nice DPing on the early Coens movies
Roger Deakins - who does the Coens now
Ernest Dickerson - did all Spike Lee's films up until Malcolm X, I think

conrad l. hall
vittorio storaro
***those are the guys who get deity status w/in the camera community.

gordon willis
gregg toland
owen roizman
bill fraker
laszlo kovacs
vilmos zsigmond
bill butler
sven nykvist

***those are some classic names whose resumes speak for themselves.

roger deakins
janusz kaminski
john toll
emanuel lubeski
john schwartzman
wally pfister
caleb deschanel
rodrigo prieto
dante spinotti
don mcalpine
ellen kuras
matthew libatique

***those are just a few of the best names currently working in film. if you wanna talk tv...you ought to look into guys like tom del ruth, brian reynolds, bill roe and bob primes.

and for all the info you could want about cinematography, check these sites out:

www.cameraguild.com
www.theasc.com

***those are the two most prominent cinematography organizations.

Rodrigo Prieto-Shot "Amores Perros," "8 Mile," and "The 25th Hour." Capable of doing amazing stuff.

Robby Muller-He shoots Jim Jarmusch's films.
Also, Jack Green, who shoots Clint Eastwood's films. And Matthew Libatique, who has shot films by Darren Aronofsky (Pi, Requiem for a Dream.


Néstor Almendros-
Billy Bathgate (1991)
Made in Milan (1990)
New York Stories (1989) (segment "Life Lessons")
Imagine: John Lennon (1988)
Nadine (1987)
Heartburn (1986)
Places in the Heart (1984)
Vivement dimanche! (1983)
... aka Confidentially Yours (1983) (USA)
... aka Finally, Sunday (1983)
Pauline à la plage (1983)
... aka Pauline at the Beach (1983)
Sophie's Choice (1982) (as Nestor Almendros)
Still of the Night (1982)
Dernier métro, Le (1980) (as Nestor Almendros)
... aka Last Metro, The (1980) (International: English title)
Blue Lagoon, The (1980)
Kramer vs. Kramer (1979)
Perceval le Gallois (1979)
... aka Fuorilegge, Il (1979) (Italy)
... aka Perceval (1979) (Italy)
Amour en fuite, L' (1979)
... aka Love on the Run (1979) (USA)
Koko, le gorille qui parle (1978)
... aka Koko, a Talking Gorilla (1979) (USA)
Goin' South (1978) (as Nestor Almendros)
Days of Heaven (1978) (as Nestor Almendros)
Chambre verte, La (1978)
... aka Green Room, The (1978) (USA)
Vie devant soi, La (1977)
... aka Life Ahead, A (1977) (International: English title: literal title)
... aka Madame Rosa (1978) (USA)
Cambio de sexo (1977)
... aka Change of Sex (1977)
... aka I Want to Be a Woman (1977)
Homme qui aimait les femmes, L' (1977) (as Nestor Almendros)
... aka Man Who Loved Women, The (1977) (USA)
Des journées entières dans les arbres (1976)
... aka Entire Days Among the Trees (1976) (UK)
... aka Entire Days in the Trees (1976) (International: English title)
Marquise von O..., Die (1976)
... aka Marquise d'O..., La (1976) (France)
... aka Marquise of O, The (1976)
Gentleman Tramp, The (1975)
Histoire d'Adèle H., L' (1975) (as Nestor Almendros)
... aka Story of Adele H, The (1975) (USA)
Idi Amin Dada (1974)
... aka General Amin (1974) (UK)
... aka General Idi Amin Dada (1976) (USA)
... aka No One Can Run Faster Than a Rifle Bullet (1974)
Mes petites amoureuses (1974)
Cockfighter (1974)
... aka Born to Kill (1974)
... aka Gamblin' Man (1974)
... aka Wild Drifter (1974)
Gueule ouverte, La (1974)
... aka Mouth Agape, The (1974) (International: English title)
Maîtresse (1973)
... aka Mistress (1973)
Oiseau rare, L' (1973)
... aka Rare Bird, A (1973) (International: English title)
Poil de carotte (1972)
Amour l'après-midi, L' (1972)
... aka Chloe in the Afternoon (1972) (USA)
... aka Love in the Afternoon (1972)
Vallée, La (1972)
... aka Valley (Obscured by Clouds), The (1972)
... aka Valley, The (1972)
Deux anglaises et le continent, Les (1971) (as Nestor Almendros)
... aka Anne and Muriel (1971) (UK)
... aka Deux anglaises, Les (2000) (France: reissue title)
... aka Two English Girls (1972) (USA: cut version)
Genou de Claire, Le (1970)
... aka Claire's Knee (1971) (USA)
Domicile conjugal (1970) (as Nestor Almendros)
... aka Bed & Board (1971) (Canada: English title) (USA)
... aka Bed and Board (1971) (UK)
... aka Non drammatizziamo... è solo questione di corna! (1971) (Italy)
Enfant sauvage, L' (1969)
... aka Wild Boy, The (1969) (UK)
... aka Wild Child, The (1970) (USA)
Gun Runner (1969) (as John Nestor)
Ma nuit chez Maud (1969)
... aka My Night at Maud's (1970) (USA)
... aka My Night with Maud (1969)
More (1969)
... aka More - Mehr, immer mehr (1970) (West Germany)
Wild Racers, The (1968)
Collectionneuse, La (1967)
... aka Collector, The (1967)
... aka Six contes moraux IV: La Collectionneuse (1967)
Père Noël a les yeux bleus, Le (1966)
... aka Santa Claus Has Blue Eyes (1966) (International: English title)
Une étudiante d'aujourd'hui (1966)
Paris vu par... (1965) (segments "Saint Germain-des-Pres" and "Place de l'Etoile")
... aka Six in Paris (1965)
Nadja à Paris (1964)
Gente en la playa (1960)

László Kovács-
Two Weeks Notice (2002)
Miss Congeniality (2000)
... aka Miss Undercover (2001) (Europe: DVD title)
Return to Me (2000)
Jack Frost (1998)
... aka Frost (1998)
My Best Friend's Wedding (1997) (as Laszlo Kovacs)
Multiplicity (1996)
Copycat (1995)
Free Willy 2: The Adventure Home (1995)
... aka Sauvez Willy 2 (1995) (France)
Scout, The (1994) (as Laszlo Kovacs)
Next Karate Kid, The (1994)
Ruby Cairo (1993)
... aka Deception (1993) (USA: video title (recut version))
... aka Missing Link: Ruby Cairo, The (1993)
Radio Flyer (1992)
Shattered (1991)
... aka Plastic Nightmare (1991) (Belgium: English title)
Say Anything... (1989) (as Laszlo Kovacs)
... aka ...Say Anything... (1989) (USA: promotional title)
Little Nikita (1988)
... aka Sleepers, The (1988)
Legal Eagles (1986)
Mask (1985)
... aka Peter Bogdanovich's Mask (1985) (USA: complete title)
Ghost Busters (1984)
Crackers (1984)
Toy, The (1982)
Frances (1982)
Legend of the Lone Ranger, The (1981)
Heart Beat (1980)
Inside Moves (1980) (as Lazlo Kovacs)
Runner Stumbles, The (1979)
Butch and Sundance: The Early Days (1979)
Paradise Alley (1978)
F.I.S.T. (1978)
New York, New York (1977) (as Laszlo Kovacs)
Nickelodeon (1976)
Harry and Walter Go to New York (1976)
Baby Blue Marine (1976)
At Long Last Love (1975)
Shampoo (1975)
Freebie and the Bean (1974)
For Pete's Sake (1974)
... aka July Pork Bellies (1974)
Huckleberry Finn (1974)
... aka Mark Twain's Huckleberry Finn: A Musical Adaptation (1974) (USA: promotional title)
Paper Moon (1973)
Reflection of Fear, A (1973)
... aka Autumn Child (1973)
... aka Labyrinth (1973)
Steelyard Blues (1973)
... aka Final Crash, The (1973) (USA: TV title)
Slither (1972)
King of Marvin Gardens, The (1972)
What's Up, Doc? (1972) (director of photography)
Pocket Money (1972)
Last Movie, The (1971)
... aka Chinchero (1971)
Marriage of a Young Stockbroker, The (1971)
Alex in Wonderland (1970)
Five Easy Pieces (1970)
Rebel Rousers, The (1970)
Getting Straight (1970)
Hell's Bloody Devils (1970)
... aka Fakers, The (1970) (USA: TV title)
... aka Operation M. (1970)
... aka Smashing the Crime Syndicate (1970) (UK)
... aka Swastika Savages (1970)
Day with the Boys, A (1969)
Making of the President 1968 (1969) (TV)
Blood of Dracula's Castle (1969) (as Leslie Kovacs)
... aka Castle of Dracula (1969)
... aka Dracula's Castle (1967) (USA: TV title)
That Cold Day in the Park (1969)
Easy Rider (1969)
Mantis in Lace (1968) (as Leslie Kovacks)
... aka Lila (1968)
... aka Lila: Mantis in Lace (1968) (USA)
Single Room Furnished (1968)
Savage Seven, The (1968)
Targets (1968) (as Laszlo Kovacs)
... aka Before I Die (1968)
Psych-Out (1968)
Man Called Dagger, A (1967)
Mondo Mod (1967) (as Leslie Kovacks)
Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!!?, The (1967)
... aka Diabolical Dr. Voodoo (1967)
... aka Incredibly Mixed Up Zombie, The (1967)
... aka Incredibly Strange Creature: Or Why I Stopped Living and Became a Mixed-up Zombie, The (1967) (USA)
... aka Teenage Psycho Meets Bloody Mary, The (1967)
Hells Angels on Wheels (1967) (as Leslie Kovacs)
Smell of Honey, a Swallow of Brine, A (1966) (as Art Radford)
Notorious Daughter of Fanny Hill, The (1966)
"Time-Life Specials: The March of Time" (1965) TV Series
"National Geographic Specials" (1964) TV Series
Kiss Me Quick! (1964)
... aka Dr. Breedlove (1964)
... aka Dr. Breedlove or How I Learned to Stop Worrying and Love (1964)

Here is a short list of talented cinematographers, and some of the highlights from their careers. You might notice that everyone on this list (with the exception of Robert Burks) has John Ford films to their credit. That's because I've been thinking of John Ford a lot lately, and the list magically went in his direction. What can you do?
Gregg Toland - Citizen Kane, Wuthering Heights, The Long Voyage Home

Robert Burks - Strangers On A Train, Rear Window, To Catch A Thief, Vertigo, North By Northwest, The Birds, Marnie

Winton C. Hoch - The Searchers, The Quiet Man

Bert Glennon - Stagecoach, Rio Grande

Arthur C. Miller - How Green Was My Valley, The Gunfighter

Joe MacDonald - My Darling Clementine, Pickup On South Street

William Clothier - The Horse Soldiers, The Man Who Shot Liberty Valance

John Alton & James Wong Howe

Alton did stuff like T-Men and Raw Deal he pretty much defined the noir style
James Wong Howe also did some pretty good noir stuff, like The Sweet Smell of Success

Malik Hassan Sayeed-

Life and Debt (2001)
Original Kings of Comedy, The (2000)
Belly (1998)
Freak (1998/I) (TV)
He Got Game (1998)
Players Club, The (1998/I)
Cold Around the Heart (1997)
Girl 6 (1996)
Clockers (1995)

  

Printer-friendly copy | Top

Lobby Pass The Popcorn Pass The Popcorn Archives topic #4269 Previous topic | Next topic
Powered by DCForum+ Version 1.25
Copyright © DCScripts.com