The following is required viewing: 110 of the world’s top cinematographers discuss the art of how and why films look the way they do. Cinematographer Style is about the Art and Craft of Cinematography. It is about how everything, from life experiences to technology, influences and shapes an individual’s visual style. Because of the powerful impact that the visual style of a movie can have, this documentary may offer contemporaries valuable insights into the dramatic choices Cinematographers make. And, it is expected that the material will have significant historic value as well.
Roger Deakins in Cinematographer Style: “Lenses are really important to me,” says Deakins, after which we get an in-depth discussion on working with the Coen Brothers and how to shoot with the audience in mind. A great conversationalist, how can one not listen to this man speak about film?
In The Mood for Doyle (2007). Christopher Doyle is one of the best known and most acclaimed directors of photography in world cinema. Born in Australia, he sees himself as an Asian citizen rather than a Westerner. His artistic contribution to the films of Wong Kar-wai, Zhang Jimou and Fruit Chan films, among others, is indisputable. Filmed in DV and Super8, this documentary is a kind of wild and stylized road movie — from Bangkok to Hong Kong, via New York. The camera follows this eccentric and outrageous artist as he gives us his thoughts on his past and present work. From the recent sets of Invisible Waves by Thailand’s Pen ek Ratanaruang, and M. Night Shyamalan’s Lady in the Water, to the locations in Hong Kong where he shot some of his most famous pictures, such as In The Mood for Love and Dumplings, Chris Doyle talks about his cinematic fascination for Asian culture.
“You see the world, you end up in jail three or four times, you accumulate experience. And it gives you something to say. If you don’t have anything to say then you shouldn’t be making films. It [has] nothing to do with what lens you’re using”. —Christopher Doyle
American Cinematographer: Photographing Barry Lyndon. March 1976 edition of American Cinematographer Magazine with two Kubrick-related articles, each covering the cinematography of Barry Lyndon. One article focuses generally on the cinematography, while the other focuses more closely on the specialized lenses utilized for the film. [thanks to Tim Pelan]
Documentary excerpt detailing the production of Kubrick’s masterpiece:
This Videomaker segment examines a scene from a film that took low-light shooting to new levels. Barry Lyndon, released in 1975, still holds the title for the lowest f-stop lens used in a film. With the beautifully crafted shots in the film, it’s no surprise that Director of Photography John Alcott won the Academy Award for best cinematography. Deconstructing Cinematography looks at an incredibly lit scene, using only three candles.
Last night, my beautiful Aunty Tracy died unexpectedly. She was only 52.
Tracy gave me our apple cake recipe, and I am so glad she got to see it in print in the cookbook as well as how beloved her recipe was online.
In honor of her life, her unyielding love for family, and her talent in the kitchen, I want to share my take on my Aunt Tracy’s Apple Cake with you all again so that her sweetness will never be forgotten.