Imagens Soltas

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Imagens Soltas

Mensagem  Lex em Sab 26 Fev 2011, 05:19

O site incontention lançou um artigo sobre as fotografias de 2007: mto interessante - http://www.incontention.com/?p=3157

#10



“NO COUNTRY FOR OLD MEN”
Director of Photography: Roger Deakins

I suppose in a way it was business as usual, but business is never usual with [the Coens], because every film they’ve done is so different. And I think we felt quite a responsibility to the novel. Visually, graphically, it was a very different look than what we’d been doing together up until then. It was like a Peckinpah western, the old sheriff standing in the way of the way the world was going.

–Roger Deakins


#9



“INTO THE WILD”
Director of Photography: Eric Gautier



#8



“ZODIAC”
Director of Photography: Harris Savides

Steven Shore had these banal kind of images of America in the 70s, which were a great reference for colors and for props, and for the world that we were to inhabit and make the audience feel they were watching. Something that did concern me, however, was that it was very dialogue-driven, and I wanted to do things that were more cinematic. But all of David’s references were these wonderful movies that had this structure that I became interested in. The approach that he wanted to take was exciting for me.

–Harris Savides



#7



“CONTROL”
Director of Photography: Martin Ruhe

Black and white always has the danger of being too stylized, but Anton is great at being efficient and taking risks and not questioning too much. That gave us confidence to go ahead with things. We wanted to make the film really personal and daring in a lot of ways.

–Martin Ruhe



#6



“QUIET CITY”
Director of Photography: Andrew Reed

The Prospect Park scene was the best example of a happy accident. It was not something that Aaron and I talked about a great deal. Though there were some basic ground rules. Obviously the movie is 80-90 percent handheld, and that was a conscious choice. We also made the decision that all of the cityscape shots were going to be completely static and separate from those other shots. We didn’t want there to be any additional presence other than the city.

–Andrew Reed



#5



“MICHAEL CLAYTON”
Director of Photography: Robert Elswit

We were completely ripping off New York filmmaking from the 1970s, things like “Klute” and pretty much everything Owen Roizman has ever shot. But Tony’s sense of these things was not lots of little pieces; he loves making kind of graphic frames that play as long as possible.

–Robert Elswit



#4



“THERE WILL BE BLOOD”
Director of Photography: Robert Elswit

If we were stealing from anybody, it was a little bit of Kubrick. But that tends to be kind of Paul’s taste anyway. But in terms of temperature — and we’ve said this a million times — it was ‘Treasure of the Sierra Madre.’ We really wanted a sense of that. Oil drilling was a really hard life, and I think Paul was absolutely obsessed with capturing that.

–Robert Elswit



#3



“ATONEMENT”
Director of Photography: Seamus McGarvey

Joe and I are very clear that cinematography must be in service of the story. With the unfettered imagination, meaning can just explode and proliferate. So we wanted to keep in line with the script’s insistence on no adjectives, keep things clean as a whistle, very clear and with unfiltered light.

–Seamus McGarvey



#2



“THE BOURNE ULTIMATUM”
Director of Photography: Oliver Wood



#1



“THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD”
Director of Photography: Roger Deakins

Andrew said he wanted to create a Victorian Western, and he had a lot of visual references, from photographs to paintings and stills from other movies. But this was the 1870s, kind of late for a western. Jesse James was around at a time when the west was really changing; he lived in an area that was bustling. And Andrew wanted to get across that notion of change.

–Roger Deakins

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Re: Imagens Soltas

Mensagem  Lex em Sab 26 Fev 2011, 05:23

O site incontention lançou um artigo sobre as fotografias de 2008: - http://www.incontention.com/?p=3843

#10


“MILK”
Director of Photography: Harris Savides


It’s really simple and it wasn’t planned at all. We were shooting the scene and the last shot that night was a close-up of the whistle. Gus and I were talking and we thought it would be great if we saw the whole scene in this whistle, and Gus made it happen in post. They took one of the shots and put it in this shot, the close-up of the whistle we got. I was surprised that it happened at all. But that kind of stuff, especially with Gus, is very on the fly. There’s no storyboards.

–Harris Savides


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#9




“DEFIANCE”
Director of Photography: Eduardo Serra

I like this shot very much as well because you have all that emptiness and Daniel is separated from the rest. When you have all the snow, all the white around, you have reflections everywhere. That creates a mood that’s very special. I didn’t do anything with this shot other than giving the film a certain look using a specific film stock. There’s not much you want to do with lights because you have all this white. I’m always very interested mainly by the storytelling rather than anything else. It’s very simple, there’s nothing, no bells, no nothing, it’s very simple.

–Eduardo Serra


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#8




“REVOLUTIONARY ROAD”
Director of Photography: Roger Deakins

You kind of work the shot by what’s demanded by the story. The front of the shot is just Frank coming in the door and the exterior of the porch light that sort of rims him as he walks in. It was an aesthetic reason because it helps set the mood of the shot. We wanted this pool of warm light, sort of coming through this dark room and not knowing what you were going to expect. It was about capturing the surprise of Frank seeing that scene and that mixed emotion. And it wasn’t lit entirely by the candles. I asked the art department to make a cake that was big enough that I could hide a little gag light behind it.

–Roger Deakins

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#7



“SLUMDOG MILLIONAIRE”
Director of Photography: Anthony Dod Mantle

I like to experiment, but I only ever experiment because of the story. We thought bringing him really close in the foreground would be good to create that distance between the two boys and create that dramatic comment. One of them is thinking about something else and the other is simply thinking about surviving and moving on. It’s a sad image too because you can’t help the connotation that these boys have lost their mom, you know. And those things don’t get storyboarded. Generally speaking when you’re working with Danny, every shot feels as important as every other one. And that shot is an example of the way we work . He’d have an idea for a picture and I’m there to help him as a visually trained composer of images — that’s my job.

–Anthony Dod Mantle


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#6



“THE WRESTLER”
Director of Photography: Maryse Alberti

The first time I spoke to Darren, it was very clear that the inspiration for the visuals of the film was in the work of the Dardenne brothers, who directed “Rosetta” and “L’Enfant.” That first shot was going to be much more complicated, a low, hand-held tracking shot that was going to move in on Mickey and turn around and start to discover his face. We tried it and Darren decided it was much too complicated. We decided to leave the camera in the back of the room with Mickey very small in the frame with his back to us and I think that right away it established the isolation of the character.

–Maryse Alberti


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#5



“THE DARK KNIGHT”
Director of Photography: Wally Pfister

Chris and I had long conversations discussing the best way to film this scene. This is the last we see of the Joker in the film and sadly one of the last days we were ever to work with Heath. We went back and forth trying to decide whether to leave him upside down in the frame for the whole scene or rotate the camera and have him right-side up and we did not make our decision until that day. Chris felt that, as long as we showed the camera rotation, and let the audience “in,” that the scene would play better with the Joker’s face upright. The end result is, of course, this eerie right-side-up image that defies gravity. We kept the illusion of the police helicopter flying around to motivate my overexposed blue, flickering light on the Joker’s face throughout.

–Wally Pfister


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#4




“THE CURIOUS CASE OF BENJAMIN BUTTON”
Director of Photography: Claudio Miranda

David likes being able to roll instantly and he likes the convenience of HD, but of all the shots that was probably one of the easiest ones of the whole movie. It was just trying to be as naturalistic as possible. I get drawn to it more emotionally, because it’s not busy with light or camera movement at all. There’s no real equipment on that shot. There’s just a camera and a couple of actors out there and we were blessed by a little bit of overcast and there you go. It was one of those happy accidents. And it just seemed to have a great mood to it, the tree kind of pushed in on the side with this nice bell shape. Everyone has their favorite shots but a lot of people react to that one.

–Claudio Miranda



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#3



“HUNGER”
Director of Photography: Sean Bobbitt

It is an interesting shot in that it sort of highlights the working relationship between myself and Steve McQueen. He said it was as if the camera was a balloon bouncing around the room, always looking at Michael. There was no visual reference that he could think of but he had a gut feeling that there was something about that movement of the camera. It highlights Steve’s creativity because he’s coming from the world of art. We had several discussions about how you get a camera to move like that, coming up with all sorts of rigs — including large balloons — none of which were really practical. As we were getting more into the shoot, the birds started to grow in importance, and for Steve it was suddenly clear that it wasn’t a balloon, it was a bird, and the bird represented Bobby Sands’ soul, trying to escape this room.

–Sean Bobbitt


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#2



“THE DARK KNIGHT”
Director of Photography: Wally Pfister

The Battersea Power Station has such a wonderful history and was perfectly suited for our story. There are very few locations where you can find that kind of scale. Chris really likes these iconic Batman images (the helicopter shot of Batman on top of the tall building is another) and usually uses them in very powerful, emotional moments in the film. All that weight was presented on a massive, eight-story screen when viewed at an IMAX theater. I was quite pleased with the duality of the color palette, the blue of the dawn light mixed with the warm, orange of the fire light. We decided to shoot this as a dawn scene, as it allowed us to see much more of the destroyed Battersea interior than we would have had it been a night scene.

–Wally Pfister


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#1



“LET THE RIGHT ONE IN”
Director of Photography: Hoyte Van Hoytema

This shot can be seen as a compressed example of how we tried to treat the story throughout the film. It pretty much followed the ideas Tomas and I had about how to show cruelty, action and supernatural elements and where to put focus. We wanted to be close on Oscar and the way he experiences the situation, as well as have a platform to tell everything that happens in one shot. I am not sure if it is the most “pretty” frame of the film, but it was very exciting to try to unravel and solve the puzzle of all present elements in this shot, technically, as well as emotionally. I am very proud of Tomas and the way he dared to go with a climax that is so violent, but restrained and subtle at the same time.

–Hoyte Van Hoytema

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Re: Imagens Soltas

Mensagem  Lex em Sab 26 Fev 2011, 05:23

The top 10 shots of 2009

#10



“TRANSFORMERS: REVENGE OF THE FALLEN”
Director of Photography: Ben Seresin


The shot wasn’t specifically storyboarded, although there was extensive pre-visualization for the rest of the scene. The bottled wall was planned, as it is typical in the Middle East. I tried to create a feeling in the room that would give a sense of safety, and that contrasted with the expanse, scale and danger of outside. I could write a book on working with Michael. Basically, he fluctuates from totally controlling to handing things over. Having said that, the aesthetic of the movie is very much his. He feels very comfortable with his bold style and is generally disinclined to experiment with new approaches.


–Ben Seresin

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#9



“THE LOVELY BONES”
Director of Photography: Andrew Lesnie


Coming fresh from one of the most vital experiences of a young girl’s life (first love) and past an energetic expression of youthful energy on the soccer field, the shot smoothly brings us to the close of one chapter and the beginning of the next. By craning up we draw on the film memory of this move as a closing motif, while also using it to introduce the arena for the coming events. The audience are already aware of the conclusion and have seen Harvey in the field at night, so the transition from a colorful environment with contrasting colors to a monochromatic desolute, denuded cornfield is smooth but immediately gets your mind racing.

–Andrew Lesnie

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#8



“WHERE THE WILD THINGS ARE”
Director of Photography: Lance Acord


Getting the suit performers in the water was a challenge because if the suits filled up with water, it would keep them under water. The location, Bush Ranger’s Bay on the Mornington Peninsula in Australia, it has like 8-10 foot waves washing ashore. Pirates in the early 1800s would build fires along the coastline to lure ships into thinking there were settlements there, and it would cause the ships to shipwreck and they would go out and pillage the ships. It was a real miracle that it was the only day of being at that location for close to three weeks when there were hardly any waves. The ocean went completely flat.

–Lance Acord

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“UP IN THE AIR”
Director of Photography: Eric Steelberg


We had just finished shooting and we were moving between locations at the airport. We were walking by this walkway and Jason said, ‘Do we have Anna? I want to do a shot of Anna on this walkway really quick. Can we do that?’ We didn’t really have permission, so he said let’s talk with the airport and see if we can do it. I think he knew where he would use it tonally but he said, ‘Oh, you know what, I do actually need a cutaway for Anna at the end of the movie.’ It was literally spur of the moment, walking by, seeing the opportunity. And it kind of reminds everybody of her journey as well.

–Eric Steelberg

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#6



“THE ROAD”
Director of Photography: Javier Aguirresarobe


John Hillcoat, from the beginning, was very confidant in me. I could work with a lot of freedom. This shot was an improvisation. It wasn’t planned. The movie doesn’t have too many interior scenes and this was something we discovered right there on the set. Most of the movie wasn’t storyboarded and we were really glad that this was a shot that could show like a shadow without a specific shape that is being erased and it reflects the character and what he’s feeling at that moment and accentuates the drama. The water is, in a sense, erasing the past. I think it’s a really powerful moment in the story.

–Javier Aguirresarobe

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#5



“PUBLIC ENEMIES”
Director of Photography: Dante Spinotti


It was very complicated from the point of view of visual effects. They rigged the car so that it was trailing sort of a platform on which the actor was lying and there was a green screen on top of it and then shot the background of the road and all the dust. So it looked like the guy was actually pulled by the car on the road itself. Dillinger loses his friend and mentor and teacher in this scene and the fact that something goes terribly wrong with the prison break probably sets the tone of the rest of the story. Criminality was going in a different direction. The look between the two actors is really wonderful and the moment is definitely very emotional.

–Dante Spinotti

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#4



“PRECIOUS”
Director of Photography: Andrew Dunn


A lot of what cinematographers do has a greater meaning than the shot itself. This shot is of course only of value within the context of the storytelling. It reflects her situation. The apartment is a prison and her life is a prison and within that is this prison, this cauldron of bubbling mess. We were getting ready to move off that set and we knew we needed an actual storytelling point. It’s absolutely imperative that you get these little moments of storytelling. You don’t always know at the time of shooting what will be necessary and valid during the editing process, but it’s absolutely vital that you get all the ingredients so that the editor has choices.

–Andrew Dunn

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#3



“THE HURT LOCKER”
Director of Photography: Barry Ackroyd


It’s very informational in a lot of ways. It’s kind of a symbolic image as well, which I think gives it its strength. The obvious thing was to show this from above to give this kind of web surrounding him, which I think is metaphorical for his position, but also the moment of ecstasy at the center of this thing, it’s like he’s caught in a spider’s web. And it’s almost like an impossible place to be, so I think it’s a little bit mystical as an image. You wouldn’t get yourself in the center of such danger, but that was obviously the character. He was prepared to do that, which made him different to the other guys, and I think ultimately that’s what the film’s about.

–Barry Ackroyd

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#2



“THE COVE”
Director of Photography: Brook Aitken


We had four hours and five minutes of drive time. It was a prototype camera, then we had to have a battery specially made. So the inside of this camera, the lithium batteries were around it, so it looked just like dynamite. We tried it once and it didn’t work because we had gotten it too early, and the second time we got it, it happened in the last five minutes as we were running out of hard drive space. It’s actually a dissolve. We sped it up so that probably about a minute and a half got reduced to maybe five seconds. We didn’t mess with the color at all on that stuff, and that honesty was really important to me in that shot.


–Director Louie Psihoyos

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#1



“PARANORMAL ACTIVITY”
Director of Photography: Oren Peli


I literally spent months playing around with it and tweaking it, finding the right angle and the right colors, the right filters. It took a lot of effort. Once I got the positioning I had to figure out the lighting. It had to look natural but not like we were trying to be creepy. So I had to create a source of light that allows you to see what’s going on but not too clearly. I took a light and put it in the corner facing the wall, used filters to give it a little more bluish look and increased the contrast a little bit more. I knew this was going to be the standard shot we were going to use. I didn’t want to keep using different shots with drastically different angles.


–Oren Peli

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Re: Imagens Soltas

Mensagem  Lex em Sab 26 Fev 2011, 05:27

The top 10 shots of 2010



#10


“THE SECRET IN THEIR EYES”
Director of Photography: Félix Monti


This sequence dramatically breaks the story in two: before and after finding the murderer. [Director Juan José] Campanella had this sequence in mind from the beginning when he was writing the script. He felt the need to tell this particular moment in a different way, using time and rhythm as an element to play in the whole story. All in all there were nine different camera positions.

–Félix Monti

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#9
[

“THE KING’S SPEECH”
Director of Photography: Danny Cohen


Where we put him in the shot, it’s like, here is a man who is cornered. There was a way of putting Colin [Firth] in the frame and giving him lots of head room and short-sighting him that really gives you that sense that things are uncomfortable. There’s not a lot of light going into his eyes. There are deep shadows and all of that kind of builds the tension that it’s not going to be an easy journey. And it breaks up the pacing. There’s no chaos if there isn’t any calm before the storm.

–Danny Cohen

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#8


“SHUTTER ISLAND”
Director of Photography: Robert Richardson


That was entirely developed out of Marty’s mind. He wanted one sustained take. Once the initial shot was fired and all the soldiers began firing, his idea was, ‘Let’s maintain it. I don’t want to break.’ It was a dolly shot, a hundred some-odd feet, maybe close to 200. And a great deal of the blood was CG blood because of the number of shots fired. We shot it outside of Boston in a small town. It was I believe a mill at one point that Dante Ferretti transformed it into what you saw.

–Robert Richardson

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#7


“THE GHOST WRITER”
Director of Photography: Pawel Edelman


In the original script there was no such ending. From the very beginning we were thinking of how to end this film, how to find this image that would just close the whole story. It was Roman’s idea, two weeks before we were supposed to shoot that scene. We wanted an evening, magic hour shot, mysterious and dark. And we didn’t want to show, we wanted to suggest that something dramatic may have happened. We took two or three takes and the last take was the best.

–Pawel Edelman

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#6


“CAIRO TIME”
Director of Photography: Luc Montpellier


This was a true dance between Patricia, the camera, the design and her wardrobe just to try to communicate in every frame that there’s an evolution there. It’s almost like she’s 15 again and she realizes she’s alive again. We did numerous takes, just to get her hand positions right and her expression. It was very closely choreographed. Any time we can make the audience feel the way she does, and it doesn’t always have to be with the big vistas, that’s the success of the film, in a way.

–Luc Montpellier

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#5


“BLACK SWAN”
Director of Photography: Matthew Libatique


We ended up waiting to do that scene because we were going back and forth on what kind of presentation it was going to be. We talked about doing it on stage or some kind of abstract set, but I opted for spotlights and the black void. Simpler was better, though the camera rotated probably eight times, possibly more. Karma, I think, helped it out because we shot it in the same space they shot the death scene in ‘All That Jazz,’ which is one of my favorite films.

–Matthew Libatique

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#4


“TRUE GRIT”
Director of Photograph: Roger Deakins


We storyboarded a few shots, tracking and looking down the street at dawn, which we actually did. But in the middle of the night, when we couldn’t do much else and were waiting to set up the dawn shot, we decided to do this side track-in. It’s kind of lovely the way the horse just whips through frame and then is gone and the snow sort of shifts around him. And that’s the one they used, I think because it’s so pure and simple. That was the whole thing about the film, really. It’s not fussy.

–Roger Deakins

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#3


“I AM LOVE”
Director of Photography: Yorick Le Saux


We wanted the feel to be rich and majestic but not luxe. We didn’t want something that would look like a commercial, with too much light, too much brilliance…Luca [Guadagnino] is probably the most technical director I’ve worked with. He knows everything about cameras and lenses. I think he can tell you every special speed that Christopher Doyle used on a Wong Kar-wai movie in the Nineties!

–Yorick Le Saux

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#2


“ENTER THE VOID”
Director of Photography: Benoît Debie


One of Gaspar’s great qualities is that he pushes you to experiment…If, for whatever reason, something doesn’t work out as he hoped, he will never reproach you. He tells you, ‘Let’s try it, and if it’s not good, tomorrow we’ll do something else.’ That allows you to take a lot of risks. He is searching, and he therefore pushes others to do the same.

–Benoît Debie

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#1


“INCEPTION”
Director of Photography: Wally Pfister


Obviously it’s a very key storytelling thread. It acts as this ticking clock, an hourglass, and we knew the weight of the shot for our movie. Chris [Nolan] wanted to get the camera as slow as we possibly could, and it really is our general philosophy on everything we’re doing on these films is to try and get it in camera. We went down to San Pedro and it seemed like a perfect place. It was just enough of a drop, they allowed us to do it and it sort of fit in with our shoot-up leading up to it.

–Wally Pfister

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