making of Blade Runner
making of Blade Runner
Baristas is an original comedy web-series based on the misadventures of four twenty-something co-workers and their insane boss. “They’re not here to serve you!”
Web series I’m going to be working on
Academy Award-winning director Clint Eastwood in conversation with Academy Award-nominee Darren Aronofsky following the world premiere of Eastwood Directs: The Untold Story.
This unprecedented new film focuses on Eastwood’s directorial method thanks to producing partners and fellow actors sharing never-before-told stories of working with Clint. It explores Eastwood’s signature style, dissecting the skills that have ensured his four decades of success. Bringing together the insights of Martin Scorsese, Meryl Streep, Gene Hackman, Morgan Freeman and many others, the film creates the complete picture of the man, the colleague, the creator.
This is never-broadcast footage of Woody Allen being interviewed by Granada TV in Manchester in 1971 while he was in the UK to promote Bananas. Woody refuses to give a truthful answer to any question, yet continues the interview for nearly 40 minutes. An anthology of hilarious answers.
This is genius.
Martin Scorsese Week
The Departed, 2006
Cinematography: Michael Ballhaus
Rembrandt - A Man in a Room (1630)
I didn’t use any lights. It’s funny, because sometimes I talk to other cinematographers and they say, ‘Oh my God, Terry doesn’t let you use lights,’ but it’s not that he doesn’t let me — I don’t want to use them. On Tree of Life we really tried to do combinations of scenes with light and scenes without, and when you add movie lights they doesn’t have the complexity of natural light. You’re putting one light that has one tone and one color through some diffusion, and it doesn’t have the complexity of natural light coming in through the window from a blue sky and clouds bouncing green off the grass. Some would call that kind of light imperfect, but it’s more accurate to call it more complex. That complexity of natural light and the way it hits the face is amazing, and when you start to go that way it’s hard to go back and light [things artificially]. The less you use artificial light, the more you want to avoid it, because the scenes feel weak or weird or fake. Often we would be inside a house and it would be cloudy and we would know that we’d probably have to rewrite the scene and shoot it outside or come back another day, but that would be better than the option of lighting the scene and not liking it.
~ Emmanuel Lubezki in American Cinematographer about shooting To The Wonder.
Martin Scorsese Week
Mean Streets, 1973
Cinematography: Kent Wakeford
I love this movie. I love this movie a lot. One of the 20 movies in my top 5.
“Put the camera away! Go!”
Francois Truffaut shooting “La femme d’à côté”
I don’t understand my Truffaut obsession.
Cinematographer on some of the most acclaimed motion pictures of the 1970s and ’80s, two-time Oscar nominee Gordon Willis served as director of photography on three Best Picture winners in six years: “The Godfather” (1972), “The Godfather Part II” (1974) and “Annie Hall” (1977). In the 1970s, working with filmmakers such as Allen, Coppola, Alan J. Pakula and Robert Benton, he defined the look of period films and perhaps the decade’s cinematic style as a whole. In films such as “The Paper Chase” (1973), “The Parallax View” (1974) and “All the President’s Men” (1976), he used new methods to convey mood, theme and emotion. To that end, his approach to a single place—New York City—varied immeasurably in its depictions in “Klute” (1971), “The Godfather,” “Annie Hall” and “Manhattan” (1979), among other films.
Gordon Willis is regarded by all of his peers as one of the greatest cinematographers in the history of film, and for many as the greatest of all time, period. Meeting with him only served to have him rise in our esteem from previous. Without wanting to use hyperbole, between lensing The Godfather trilogy, many of Woody Allen’s best films (including Annie Hall, Manhattan, Stardust Memories, Interiors, and others) and several master thrillers for Alan J. Pakula (All the President’s Men, Klute, The Parallax View, The Devil’s own, and others), Gordon Willis practically single-handedly re-invented the craft of cinematography and the nature by which films were and are composed, lit, and executed. He has left an indelible mark on the craft of filmmaking and we are delighted to present him in a two part interview here. We hope you enjoy a small window into a great man’s achievements and approach. —Craft Truck
- In the seven years from 1971 to 1977, six films shot by Willis accumulated 39 Oscar nominations with 19 wins, including three for Best Picture.
- For “All the President’s Men” (1976), he put a winch in the dome of the Library of Congress that enabled his remote-controlled camera to pull back from a desktop to a full view of the library floor, all in one shot.
- Willis enjoyed six cinematic collaborations with director Alan J. Pakula spanning 1971 (“Klute”) to 1997 (“The Devil’s Own”).
- During the Korean War, he spent four years in the Air Force on a motion picture unit photographing instructional films.
- He has his own “theory of relativity,” which he explains as “I believe in the relativity of moviemaking, which includes a world of light and dark, big and small, high and low, good and evil.”
- Director Francis Ford Coppola, a collaborator on three films, once said of Willis, “He has a natural sense of structure and beauty, not unlike a Renaissance artist.”