“Think of when you’re at a concert,” explained Talking Heads guitarist and keyboardist Jerry Harrison as he discussed the 4K remastering of “Stop Making Sense.” “It’s always best to be in the middle as both your eyes and ears are getting a well-balanced experience, but we tried to mix music so that it would sound great wherever you were sitting.”
A24’s dynamic restoration of what is widely considered the greatest concert film of all time is far from the same as it ever was, and the theatrical experience recreates the experience of being in the audience as closely as is technologically possible without it being overpowering.
“To begin with, we bring the audience in when they reacted to the original, but we were very judicious and restrained about the amount of the audience tracks,” the musician explained. “I guess we just tried to make it feel natural.
A24’s dynamic restoration of what is widely considered the greatest concert film of all time is far from the same as it ever was, and the theatrical experience recreates the experience of being in the audience as closely as is technologically possible without it being overpowering.
“To begin with, we bring the audience in when they reacted to the original, but we were very judicious and restrained about the amount of the audience tracks,” the musician explained. “I guess we just tried to make it feel natural.
- 9/21/2023
- by Simon Thompson
- Indiewire
Cinematographer Brian Tufano, who shot British classics like "Trainspotting" and "Billy Elliot," has died at the age of 83. The news was announced by Jon Wardle, director of the UK's National Film and Television School, via his Twitter account, and confirmed by The Hollywood Reporter.
Tufano had been semi-retired for the past 10 years, but he had an illustrious career that spanned decades and left his imprint on cinema forever. He was awarded with a special BAFTA in 2001 for his contributions to television craft, honoring the work he did with directors like Ken Russell, Stephen Frears, and Alan Parker.
Despite doing so much great work on television, Tufano became best known worldwide for his collaborations with director Danny Boyle, shooting four films together including Boyle's breakout hit "Trainspotting." The talented director of photography was especially skilled at filming movement, with his camera acting almost like a distinct character all of its own.
Tufano had been semi-retired for the past 10 years, but he had an illustrious career that spanned decades and left his imprint on cinema forever. He was awarded with a special BAFTA in 2001 for his contributions to television craft, honoring the work he did with directors like Ken Russell, Stephen Frears, and Alan Parker.
Despite doing so much great work on television, Tufano became best known worldwide for his collaborations with director Danny Boyle, shooting four films together including Boyle's breakout hit "Trainspotting." The talented director of photography was especially skilled at filming movement, with his camera acting almost like a distinct character all of its own.
- 1/16/2023
- by Danielle Ryan
- Slash Film
Ivan Passer’s superb coda to the ’60s counterculture generation now enjoys a formidable reputation; this new Fun City Editions release packs it with terrific extras. It may have the best performances by top stars John Heard, Jeff Bridges and Lisa Eichhorn. Disaffected 30-somethings in Santa Barbara investigate a murder and then try to blackmail a corporate CEO. Heard is the maimed, one-eyed veteran already judged unstable, Bridges the yacht bum who gets by on his good looks, and Eichhorn the most forlorn woman of the early ’80s, looking for a reason to give a damn about something. Jordan Cronenweth’s cinematography and Jack Nitzsche’s music track couldn’t be bettered; the movie deserves the place of honor granted to Easy Rider.
Cutter’s Way
Blu-ray
Fun City Editions
1981 / Color / 1:85 widescreen / 109 min. / Street Date October 25, 2022 / Available from Vinegar Syndrome / 39.98
Starring Jeff Bridges, John Heard, Lisa Eichhorn, Ann Dusenberry,...
Cutter’s Way
Blu-ray
Fun City Editions
1981 / Color / 1:85 widescreen / 109 min. / Street Date October 25, 2022 / Available from Vinegar Syndrome / 39.98
Starring Jeff Bridges, John Heard, Lisa Eichhorn, Ann Dusenberry,...
- 10/18/2022
- by Glenn Erickson
- Trailers from Hell
When the ASC launched its awards in 1986, a single statue was given for feature film cinematography, presented by Gregory Peck to Jordan Cronenweth for his work on Francis Ford Coppola’s “Peggy Sue Got Married.”
Now, 36 years later, the American Society of Cinematographers Awards is returning to the smaller scale of yore even as it promises to celebrate a wide range of image-makers. The ceremony will take place on March 20th at the ASC Clubhouse, the org’s modest, if stylish, headquarters in Hollywood, rather than in a cavernous ballroom.
But even though ASC has reduced the scale of the event this year, the scope of the awards has continued to expanded significantly since that first evening. Honors now go to TV categories as well as documentary. The ASC’s Spotlight Award joined the parade in 2013 to recognize films seen mainly on the festival circuit, in limited theatrical release or outside the U.
Now, 36 years later, the American Society of Cinematographers Awards is returning to the smaller scale of yore even as it promises to celebrate a wide range of image-makers. The ceremony will take place on March 20th at the ASC Clubhouse, the org’s modest, if stylish, headquarters in Hollywood, rather than in a cavernous ballroom.
But even though ASC has reduced the scale of the event this year, the scope of the awards has continued to expanded significantly since that first evening. Honors now go to TV categories as well as documentary. The ASC’s Spotlight Award joined the parade in 2013 to recognize films seen mainly on the festival circuit, in limited theatrical release or outside the U.
- 3/19/2022
- by David Heuring
- Variety Film + TV
Aaron Sorkin and Oscar-nominated cinematographer Jeff Cronenweth first became acquainted on the set of David Fincher’s “The Social Network.”
“The last shot of ‘The Social Network,’ Fincher wanted to avoid the emotional goodbyes to everybody and left with one insert to be shot that Aaron directed and I photographed,” Cronenweth tells Gold Derby in the “Meet the Experts” cinematographers panel. “That was really our first director-cinematographer collaboration back at the end of ‘The Social Network.’”
More than a decade later, Sorkin and Cronenweth have reunited in an official capacity as director and cinematographer for “Being the Ricardos,” Sorkin’s third film as a director and his first with Cronenweth behind the camera.
“He loved his experiences on ‘Molly’s Game’ and with Phedon [Papamichael] on ‘Chicago 7’ and Phedon got an Oscar nomination on that, it was a beautifully photographed film,” Cronenweth says. “But it was predominantly stuck in a courtroom. My...
“The last shot of ‘The Social Network,’ Fincher wanted to avoid the emotional goodbyes to everybody and left with one insert to be shot that Aaron directed and I photographed,” Cronenweth tells Gold Derby in the “Meet the Experts” cinematographers panel. “That was really our first director-cinematographer collaboration back at the end of ‘The Social Network.’”
More than a decade later, Sorkin and Cronenweth have reunited in an official capacity as director and cinematographer for “Being the Ricardos,” Sorkin’s third film as a director and his first with Cronenweth behind the camera.
“He loved his experiences on ‘Molly’s Game’ and with Phedon [Papamichael] on ‘Chicago 7’ and Phedon got an Oscar nomination on that, it was a beautifully photographed film,” Cronenweth says. “But it was predominantly stuck in a courtroom. My...
- 11/19/2021
- by Christopher Rosen
- Gold Derby
For the ambitious productions in the current golden age of television, it's not uncommon to see filmmakers crossing over between features and shortform narratives — and that certainly holds true in cinematography.
This season's Emmy contenders include Frederick Elmes, whose credits with longtime collaborator David Lynch include Blue Velvet and who earlier this year received the American Society of Cinematographers' Lifetime Achievement Award. He's also a 2017 Emmy winner for The Night Of. Among his fellow Emmy hopefuls are Jeff Cronenweth (son of Blade Runner Dp Jordan Cronenweth), a longtime collaborator with David Fincher who earned Oscar nominations for the ...
This season's Emmy contenders include Frederick Elmes, whose credits with longtime collaborator David Lynch include Blue Velvet and who earlier this year received the American Society of Cinematographers' Lifetime Achievement Award. He's also a 2017 Emmy winner for The Night Of. Among his fellow Emmy hopefuls are Jeff Cronenweth (son of Blade Runner Dp Jordan Cronenweth), a longtime collaborator with David Fincher who earned Oscar nominations for the ...
For the ambitious productions in the current golden age of television, it's not uncommon to see filmmakers crossing over between features and shortform narratives — and that certainly holds true in cinematography.
This season's Emmy contenders include Frederick Elmes, whose credits with longtime collaborator David Lynch include Blue Velvet and who earlier this year received the American Society of Cinematographers' Lifetime Achievement Award. He's also a 2017 Emmy winner for The Night Of. Among his fellow Emmy hopefuls are Jeff Cronenweth (son of Blade Runner Dp Jordan Cronenweth), a longtime collaborator with David Fincher who earned Oscar nominations for the ...
This season's Emmy contenders include Frederick Elmes, whose credits with longtime collaborator David Lynch include Blue Velvet and who earlier this year received the American Society of Cinematographers' Lifetime Achievement Award. He's also a 2017 Emmy winner for The Night Of. Among his fellow Emmy hopefuls are Jeff Cronenweth (son of Blade Runner Dp Jordan Cronenweth), a longtime collaborator with David Fincher who earned Oscar nominations for the ...
Cinematography is a true art form. To compose a memorable shot is something that one really does need a skill for. That doesn’t even take into account how a cinematographer must work well with a director, have an understanding of their camera, and an infinite number of other assets necessary to help make a movie succeed. Earlier this week, we got a chance to talk with two time Academy Award nominated cinematographer Jeff Cronenweth, who was able to detail just some of what goes into being a quality Dp. Cronenweth has been cited by the Academy twice. Both times, collaborations with director David Fincher received Oscar nominations in Best Cinematography. Tomorrow, he ventures into television for the first time, collaborating with filmmaker Mark Romenek on an episode of the new Amazon Prime science fiction series Tales from the Loop. Generously chatting on the phone for nearly a half hour,...
- 4/2/2020
- by Joey Magidson
- Hollywoodnews.com
To say that two-time Academy Award-nominated cinematographer Rodrigo Prieto is in demand would be an understatement. Prieto has been a frequent collaborator with directors Alejandro G. Iñárritu, Ang Lee, Julie Taymor and Oliver Stone and has worked with Curtis Hanson, Cameron Crowe and Pedro Almodóvar. He has shot Martin Scorsese’s past three films: “The Wolf of Wall Street,” “Silence” (earning an Oscar nom) and this year’s “The Irishman.” He talked with Variety about the demands and rewards of shooting the current film.
What was the biggest challenge?
I think the schedule. It was well beyond 300 scenes, and we shot for 108 days. So we had to move frequently, often several times in one day. Add to that, roughly half the movie has visual effects with the de-aging techniques. That required a rig that we created for the three cameras needed, which created a lot of logistical questions on how to light the actors.
What was the biggest challenge?
I think the schedule. It was well beyond 300 scenes, and we shot for 108 days. So we had to move frequently, often several times in one day. Add to that, roughly half the movie has visual effects with the de-aging techniques. That required a rig that we created for the three cameras needed, which created a lot of logistical questions on how to light the actors.
- 12/19/2019
- by Tim Gray
- Variety Film + TV
Francis Coppola’s get-out-of-debt directorial assignments may not be his most personal movies, but this one is satisfying just the same, with its marvelous, mellow ensemble cast. It’s a movie to admire, as it’s not easy to attract an audience to a show about the Army’s burial detail.
Gardens of Stone
Blu-ray
Powerhouse Indicator
1987 / Color / 1:85 widescreen / 111 min. / Street Date January 21, 2019 / available from Powerhouse Films UK / £17.33
Starring: James Caan, Anjelica Huston, James Earl Jones, D.B. Sweeney, Dean Stockwell, Mary Stuart Masterson, Dick Anthony Williams, Lonette McKee, Sam Bottoms, Elias Koteas, Laurence Fishburne, Casey Siemaszko, Peter Masterson, Carlin Glynn, Bill Graham.
Cinematography: Jordan Cronenweth
Film Editor: Barry Malkin
Original Music: Carmine Coppola
Written by Ronald Bass from the novel by Nicholas Proffitt
Produced by Francis Ford Coppola, Michael I. Levy
Directed by Francis Ford Coppola
Let’s make a feel-good movie about the Dead of War! I don...
Gardens of Stone
Blu-ray
Powerhouse Indicator
1987 / Color / 1:85 widescreen / 111 min. / Street Date January 21, 2019 / available from Powerhouse Films UK / £17.33
Starring: James Caan, Anjelica Huston, James Earl Jones, D.B. Sweeney, Dean Stockwell, Mary Stuart Masterson, Dick Anthony Williams, Lonette McKee, Sam Bottoms, Elias Koteas, Laurence Fishburne, Casey Siemaszko, Peter Masterson, Carlin Glynn, Bill Graham.
Cinematography: Jordan Cronenweth
Film Editor: Barry Malkin
Original Music: Carmine Coppola
Written by Ronald Bass from the novel by Nicholas Proffitt
Produced by Francis Ford Coppola, Michael I. Levy
Directed by Francis Ford Coppola
Let’s make a feel-good movie about the Dead of War! I don...
- 1/29/2019
- by Glenn Erickson
- Trailers from Hell
In celebration of its 100th anniversary, the American Society of Cinematographers has released a list of the 100 best shot films of the 20th century.
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
- 1/9/2019
- by Joey Paur
- GeekTyrant
To celebrate the 100th anniversary of the American Society of Cinematographers (Asc) this year, they’ve polled their members to determine 100 milestone films in the art and craft of cinematography of the 20th century. Topping the list is David Lean’s epic Lawrence of Arabia, shot by Freddie Young. Also in the top ten is Blade Runner (Jordan Cronenweth), The Conformist (Vittorio Storaro), Days of Heaven (Néstor Almendros), and more.
Organized by Steven Fierberg, he said “Asc members wanted to call attention to the most significant achievements of the cinematographer’s art but not refer to one achievement as ‘better’ than another. The selected films represent a range of styles, eras and visual artistry, but most importantly, it commemorates films that are inspirational or influential to Asc members and have exhibited enduring influence on generations of filmmakers.”
See the top 10 below, along with the full list.
1. Lawrence of Arabia (1962), Freddie Young,...
Organized by Steven Fierberg, he said “Asc members wanted to call attention to the most significant achievements of the cinematographer’s art but not refer to one achievement as ‘better’ than another. The selected films represent a range of styles, eras and visual artistry, but most importantly, it commemorates films that are inspirational or influential to Asc members and have exhibited enduring influence on generations of filmmakers.”
See the top 10 below, along with the full list.
1. Lawrence of Arabia (1962), Freddie Young,...
- 1/9/2019
- by Jordan Raup
- The Film Stage
The American Society of Cinematographers, in celebration of the organization’s 100th anniversary, has revealed its list of 100 milestone films in the art and craft of cinematography from the 20th century. The list culminates with a top 10, topped by Freddie Young’s lensing of David Lean’s Oscar-winning 1962 epic “Lawrence of Arabia.”
Jordan Cronenweth’s work on Ridley Scott’s 1982 sci-fi standard “Blade Runner” came in at number two. Celebrated cinematographer Roger Deakins finally won an Oscar last year for the film’s sequel, “Blade Runner 2049.”
Vittorio Storaro rounded out the top three for Francis Ford Coppola’s 1979 Vietnam odyssey “Apocalypse Now.” He, Conrad Hall and Gordon Willis each appeared on the overall list five times, leading the pack. John Alcott, Caleb Deschanel and Haskell Wexler each lensed four.
Organized by Steven Fierberg, Asc (“The Affair”) and voted on by Asc members, the milestones list is the first of...
Jordan Cronenweth’s work on Ridley Scott’s 1982 sci-fi standard “Blade Runner” came in at number two. Celebrated cinematographer Roger Deakins finally won an Oscar last year for the film’s sequel, “Blade Runner 2049.”
Vittorio Storaro rounded out the top three for Francis Ford Coppola’s 1979 Vietnam odyssey “Apocalypse Now.” He, Conrad Hall and Gordon Willis each appeared on the overall list five times, leading the pack. John Alcott, Caleb Deschanel and Haskell Wexler each lensed four.
Organized by Steven Fierberg, Asc (“The Affair”) and voted on by Asc members, the milestones list is the first of...
- 1/8/2019
- by Kristopher Tapley
- Variety Film + TV
The American Society of Cinematographers (Asc), an elite organization of cinematographers at the top of their field, is celebrating the 100th anniversary of its founding today. What better way to honor that milestone than to create a list of 100 milestone films known for the art and craft of cinematography in the 20th century, and they call it the Best Shot Films Of All Time.
Asc says this is the first time a list like this has been compiled, at least by a group of pros who should know what they are talking about. The list culminates in a Top 10 (the other 90 are unranked). The Top 10 Best Shot Films Of All Time are:
Lawrence of Arabia (1962), shot by Freddie Young, Bsc (Dir. David Lean) Blade Runner (1982), shot by Jordan Cronenweth, Asc (Dir. Ridley Scott) Apocalypse Now (1979), shot by Vittorio Storaro, Asc, Aic (Dir. Francis Ford Coppola) Citizen Kane (1941), shot by Gregg Toland,...
Asc says this is the first time a list like this has been compiled, at least by a group of pros who should know what they are talking about. The list culminates in a Top 10 (the other 90 are unranked). The Top 10 Best Shot Films Of All Time are:
Lawrence of Arabia (1962), shot by Freddie Young, Bsc (Dir. David Lean) Blade Runner (1982), shot by Jordan Cronenweth, Asc (Dir. Ridley Scott) Apocalypse Now (1979), shot by Vittorio Storaro, Asc, Aic (Dir. Francis Ford Coppola) Citizen Kane (1941), shot by Gregg Toland,...
- 1/8/2019
- by Pete Hammond
- Deadline Film + TV
The American Society of Cinematographers (Asc) celebrates its 100th anniversary on Tuesday by unveiling two lists devoted to 20th century visual achievements: the 100 Milestone Films and the top 10 Best-Shot Films, led by “Lawrence of Arabia” (1962), shot by Oscar-winning cinematographer Freddie Young.
The rest of the Top 10 list includes sci-fi classics “2001: A Space Odyssey” (1968), shot by Geoffrey Unsworth, and “Blade Runner” (1982), shot by Jordan Cronenweth; two from director Francis Ford Coppola: “The Godfather” (1972), shot by Gordon Willis, and “Apocalypse Now” (1979), shot by Oscar-winner Vittorio Storaro; two black-and-white entries: “Citizen Kane” (1941), shot by Gregg Toland, and “Raging Bull” (1980), shot by Michael Chapman; “Days of Heaven” (1978), shot by Oscar winner Néstor Almendros; and “The French Connection” (1971), shot by five-time Oscar nominee Owen Roizman.
Alas, there are no silent movies in the top 10. And there’s no representation of the ’30s; ‘the ’50s; or the ’90s.
The lists were voted on by...
The rest of the Top 10 list includes sci-fi classics “2001: A Space Odyssey” (1968), shot by Geoffrey Unsworth, and “Blade Runner” (1982), shot by Jordan Cronenweth; two from director Francis Ford Coppola: “The Godfather” (1972), shot by Gordon Willis, and “Apocalypse Now” (1979), shot by Oscar-winner Vittorio Storaro; two black-and-white entries: “Citizen Kane” (1941), shot by Gregg Toland, and “Raging Bull” (1980), shot by Michael Chapman; “Days of Heaven” (1978), shot by Oscar winner Néstor Almendros; and “The French Connection” (1971), shot by five-time Oscar nominee Owen Roizman.
Alas, there are no silent movies in the top 10. And there’s no representation of the ’30s; ‘the ’50s; or the ’90s.
The lists were voted on by...
- 1/8/2019
- by Bill Desowitz
- Indiewire
Lawrence of Arabia, David Lean's 1962 epic lensed by the late Freddie Young, has topped a list of milestone films in the art and craft of cinematography of the 20th century, as selected by members of the American Society of Cinematographers. The release of the list kicks off the commemoration of the society's Centennial, which will be celebrated throughout 2019.
Ridley Scott's 1982 sci-fi classic Blade Runner, lensed by the late Jordan Cronenweth, and Francis Ford Coppola's 1979 war film Apocalypse Now, shot by Vittorio Storaro, round out the top three films on the list. Storaro's ...
Ridley Scott's 1982 sci-fi classic Blade Runner, lensed by the late Jordan Cronenweth, and Francis Ford Coppola's 1979 war film Apocalypse Now, shot by Vittorio Storaro, round out the top three films on the list. Storaro's ...
Lawrence of Arabia, David Lean's 1962 epic lensed by the late Freddie Young, has topped a list of milestone films in the art and craft of cinematography of the 20th century, as selected by members of the American Society of Cinematographers. The release of the list kicks off the commemoration of the society's Centennial, which will be celebrated throughout 2019.
Ridley Scott's 1982 sci-fi classic Blade Runner, lensed by the late Jordan Cronenweth, and Francis Ford Coppola's 1979 war film Apocalypse Now, shot by Vittorio Storaro, round out the top three films on the list. Storaro's ...
Ridley Scott's 1982 sci-fi classic Blade Runner, lensed by the late Jordan Cronenweth, and Francis Ford Coppola's 1979 war film Apocalypse Now, shot by Vittorio Storaro, round out the top three films on the list. Storaro's ...
Robert Altman’s first opportunity to cut loose with an entirely personal film is this scattershot comedy that satirizes the American scene, taking pokes at patriotism, greed, and silly police movies. To his favorite eccentrics from M*As*H Bud Cort and Sally Kellerman he adds the new discovery Shelley Duvall; the movie’s like a bag of absurdist jokes that spilled onto a Houston Highway.
Brewster McCloud
Blu-ray
Warner Archive Collection
1970 / Color / 2:35 enhanced widescreen / 105 min. / Street Date November 27, 2018 / available through the Warner Archive Collection / 21.99
Starring: Bud Cort, Sally Kellerman, Michael Murphy, William Windom, Shelley Duvall, Rene Auberjonois, Stacy Keach, John Schuck, Margaret Hamilton, Jennifer Salt, Corey Fischer, G. Wood, Bert Remsen.
Cinematography: Lamar Boren, Jordan Cronenweth
Film Editor: Lou Lombardo
Original Music: Gene Page
Written by Doran William Cannon
Produced by Lou Adler
Directed by Robert Altman
Robert Altman may be gone but he’s far from forgotten...
Brewster McCloud
Blu-ray
Warner Archive Collection
1970 / Color / 2:35 enhanced widescreen / 105 min. / Street Date November 27, 2018 / available through the Warner Archive Collection / 21.99
Starring: Bud Cort, Sally Kellerman, Michael Murphy, William Windom, Shelley Duvall, Rene Auberjonois, Stacy Keach, John Schuck, Margaret Hamilton, Jennifer Salt, Corey Fischer, G. Wood, Bert Remsen.
Cinematography: Lamar Boren, Jordan Cronenweth
Film Editor: Lou Lombardo
Original Music: Gene Page
Written by Doran William Cannon
Produced by Lou Adler
Directed by Robert Altman
Robert Altman may be gone but he’s far from forgotten...
- 11/24/2018
- by Glenn Erickson
- Trailers from Hell
Back in 1982, Randy Newman picked up his first two Oscar nominations, for an original song and score for the movie Ragtime. Twenty years – and over a dozen more noms – later, Newman eventually brought home an Academy Award, for the Monsters, Inc. tune "If I Didn't Have You." The statuette, you could argue, was way, way overdue. (How did he not win for The Natural score? Or for "You've Got a Friend in Me," for Zurg's sake?)
That's just one example among many: Remember when living-legend Ennio Morricone won his first...
That's just one example among many: Remember when living-legend Ennio Morricone won his first...
- 2/15/2018
- Rollingstone.com
Ridley Scott’s iconic 1982 film “Blade Runner” forever changed the landscape of science fiction cinema. Google any “Best Sci-Fi Films” list and “Blade Runner” will be listed there, if not ranked in first place. The futuristic noir, adapted from Philip K. Dick’s novel “Do Robots Dream of Electric Sheep,” inspired countless filmmakers but carries an embarrassing Oscar scorecard.
The Academy Awards have not been kind to science fiction films, in general.
But there was hope for a different outcome at the 1983 Oscars, given the “Blade Runner’s” performance at that year’s BAFTA ceremony. Though it failed to make the cut for Picture or Director, the Brits gave the film an impressive eight nominations. It won three of those races: Cinematography, Costume Design, and Production Design.
Apparently, academy voters did not share the same love for “Blade Runner.” They begrudgingly gave the movie just two nominations: for Visual Effects and Art Direction.
The Academy Awards have not been kind to science fiction films, in general.
But there was hope for a different outcome at the 1983 Oscars, given the “Blade Runner’s” performance at that year’s BAFTA ceremony. Though it failed to make the cut for Picture or Director, the Brits gave the film an impressive eight nominations. It won three of those races: Cinematography, Costume Design, and Production Design.
Apparently, academy voters did not share the same love for “Blade Runner.” They begrudgingly gave the movie just two nominations: for Visual Effects and Art Direction.
- 1/26/2018
- by Sam Eckmann
- Gold Derby
“A cinematographer is a visual psychiatrist — moving an audience through a movie […] making them think the way you want them to think, painting pictures in the dark,” said the late, great Gordon Willis. As we continue our year-end coverage, one aspect we must highlight is, indeed, cinematography. From talented newcomers to seasoned professionals, we’ve rounded up the examples that have most impressed us this year. Check out our rundown below and, in the comments, let us know your favorite work.
All These Sleepless Nights (Michal Marczak, Maciej Twardowski)
Using the combination of a Steadicam and computerized gimbal, Michal Marczak and Maciej Twardowski float in and out of crowded dance floors, house parties, lush gardens, and sun-kissed beaches, all in a way that would make Emmanuel Lubezki proud. Coupled with a near-constant soundtrack of the latest in electronic and pop (as well as a Polish version of Pocahontas‘ “Colors of...
All These Sleepless Nights (Michal Marczak, Maciej Twardowski)
Using the combination of a Steadicam and computerized gimbal, Michal Marczak and Maciej Twardowski float in and out of crowded dance floors, house parties, lush gardens, and sun-kissed beaches, all in a way that would make Emmanuel Lubezki proud. Coupled with a near-constant soundtrack of the latest in electronic and pop (as well as a Polish version of Pocahontas‘ “Colors of...
- 12/21/2017
- by The Film Stage
- The Film Stage
5 reasons to see Blade Runner 20495 reasons to see Blade Runner 2049Scott Goodyer10/11/2017 2:28:00 Pm
Blade Runner 2049 is now playing and a definite must see on the big screen for many reasons.
The movie stars Ryan Gosling who plays Officer K, a young Blade Runner whose discovery of a long-buried secret leads him to track down former Blade Runner Rick Deckard (Harrison Ford), who's been missing for thirty years.
If you're on the fence about seeing it, check out our list below of reasons you need to see this long-awaited sequel!
1. The Blade Runner Universe
For many fans of the original 1982 masterpiece, we fell in love with the futuristic world that depicted a dystopic Los Angeles in 2019. Director Ridley Scott and Cinematographer Jordan Cronenweth at the time made a world that was dark and bleak yet beautiful. From the rainy streets filled with oddball characters suspiciously walking around under...
Blade Runner 2049 is now playing and a definite must see on the big screen for many reasons.
The movie stars Ryan Gosling who plays Officer K, a young Blade Runner whose discovery of a long-buried secret leads him to track down former Blade Runner Rick Deckard (Harrison Ford), who's been missing for thirty years.
If you're on the fence about seeing it, check out our list below of reasons you need to see this long-awaited sequel!
1. The Blade Runner Universe
For many fans of the original 1982 masterpiece, we fell in love with the futuristic world that depicted a dystopic Los Angeles in 2019. Director Ridley Scott and Cinematographer Jordan Cronenweth at the time made a world that was dark and bleak yet beautiful. From the rainy streets filled with oddball characters suspiciously walking around under...
- 10/11/2017
- by Scott Goodyer
- Cineplex
Singled out for special mention in the rave reviews for “Blade Runner 2049” is cinematographer Roger Deakins. While the lenser of the original 1982 film, Jordan Cronenweth, won prizes from both the New York and Los Angeles film critics as well as the BAFTA, he was snubbed by the cinematography branch of the academy. Deakins, […]...
- 10/6/2017
- by Paul Sheehan
- Gold Derby
Over the last 50 years of filmmaking, there are very few films that have influenced modern filmmaking like Ridley Scott’s “Blade Runner.” Unlike other landmark films that changed Hollywood – ranging from “Easy Rider to “Jaws” – Ridley Scott’s 1982 film was a box office disappointment. Of course, the lasting impact of “Blade Runner” was also quite different than these films that became instant cultural phenomenons.
“‘Blade Runner’ is simply one of those cinematic drugs, that when I first saw it, I never saw the world the same way again,” said Guillermo del Toro told one interviewer, when describing why “Blade Runner” was one of his five favorite films of all-time.
Del Toro wasn’t alone. For a whole generation of filmmakers – including the cinematographers, productions designers and visual effects artists – a direct line can be drawn between “Blade Runner” and the imagery of modern sci-fi movie. In the 35 years in which...
“‘Blade Runner’ is simply one of those cinematic drugs, that when I first saw it, I never saw the world the same way again,” said Guillermo del Toro told one interviewer, when describing why “Blade Runner” was one of his five favorite films of all-time.
Del Toro wasn’t alone. For a whole generation of filmmakers – including the cinematographers, productions designers and visual effects artists – a direct line can be drawn between “Blade Runner” and the imagery of modern sci-fi movie. In the 35 years in which...
- 10/3/2017
- by Chris O'Falt
- Indiewire
Something I’ve stated before in pieces such as this is the rather distinct feeing of euphoria that comes from experiencing the classics on the big screen. The best ones have the capability to “transport” their audience back to the days of original release, granting new generations of audiences a taste of what past audience members felt and experienced back when. And then, every once in a while, there’s the experience that transcends what came before. For one night only – the night of Wednesday the 20th, to be precise – a rather small handful of IMAX theaters around the country, including Hollywood’s historic Tcl Chinese IMAX (where this “humble” cinephile ), ran what was advertised as a “one night only” IMAX projection of the “Final Cut” edit of Sir Ridley Scott’s seminal Blade Runner, both as a tribute to the film on its 35th anniversary and to give the...
- 10/2/2017
- by William Coffey
- Age of the Nerd
When the first “Blade Runner 2049” trailer debuted at the beginning of May, one thing became very clear: Roger Deakins was not messing around. Even the most diehard fans of the legendary cinematographer were left speechless by his futuristic vision, which confirmed in just over two minutes that Denis Villeneuve’s sequel would be the most visually dazzling blockbuster of 2017. The “2049” review embargo has officially broken, and now it’s become clear what a massive achievement the movie is for Deakins.
Read More:‘Blade Runner 2049’ Could Finally Nab Harrison Ford and Roger Deakins Those Elusive Oscars
“2049” marks the third collaboration between Denis Villeneuve and the cinematographer. Their previous efforts include “Prisoners,” and “Sicario,” both of which earned Deakins Oscar nominations for Best Cinematography. Deakins has earned 13 career nominations throughout his career but has never won an Oscar. Based on the universal raves for his work behind the camera on “Blade Runner,...
Read More:‘Blade Runner 2049’ Could Finally Nab Harrison Ford and Roger Deakins Those Elusive Oscars
“2049” marks the third collaboration between Denis Villeneuve and the cinematographer. Their previous efforts include “Prisoners,” and “Sicario,” both of which earned Deakins Oscar nominations for Best Cinematography. Deakins has earned 13 career nominations throughout his career but has never won an Oscar. Based on the universal raves for his work behind the camera on “Blade Runner,...
- 9/29/2017
- by Zack Sharf
- Indiewire
You owe it to yourself to go and see Blade Runner 2049 in a massive cinema. If you still need convincing, here's a spoiler-free review...
This film should not exist. Not just because its predecessor, released in 1982, was initially a critical failure - and who in their right mind would sink $185 million into making a sequel to a movie that took a decade to be appreciated? Not just because the original Blade Runner was a self-contained story, unsullied by the kinds of disappointing follow-ups and spin-offs that blighted the once mighty Alien. No, Blade Runner 2049 shouldn’t exist because belated, expensive sequels are so seldom worth our time and money.
How miraculous, then, that Blade Runner 2049 emerges not only as a film that complements the original - and arguably deserves to be mentioned in the same breath as Ridley Scott’s seminal masterpiece - but also stands as...
This film should not exist. Not just because its predecessor, released in 1982, was initially a critical failure - and who in their right mind would sink $185 million into making a sequel to a movie that took a decade to be appreciated? Not just because the original Blade Runner was a self-contained story, unsullied by the kinds of disappointing follow-ups and spin-offs that blighted the once mighty Alien. No, Blade Runner 2049 shouldn’t exist because belated, expensive sequels are so seldom worth our time and money.
How miraculous, then, that Blade Runner 2049 emerges not only as a film that complements the original - and arguably deserves to be mentioned in the same breath as Ridley Scott’s seminal masterpiece - but also stands as...
- 9/27/2017
- Den of Geek
Ryan Lambie Oct 2, 2017
We talk to director Ridley Scott about Blade Runner 2049, the lasting influence of the 1982 original, ancient aliens, flutes, and more...
It's mid-September, and a rug-thick layer of secrecy lies over Blade Runner 2049, the belated sequel to Ridley Scott's 1982 classic. Before our interview with Scott, who executive produces, we're shown approximately half an hour of footage: Ryan Gosling trudging moodily through futuristic landscapes as a new Replicant hunter, K; glimpses of Jared Leto as a new creator of artificial life, named Niander Wallace.
See related Bunny And The Bull interview with Paul King, Simon Farnaby and Edward Hogg Brendan Gleeson interview: The Guard, Don Cheadle, Crocodile Dundee and more
Directed by Denis Villeneuve (Prisoners, Sicario, Arrival), Blade Runner 2049 looks spectacular, with the same measured, ethereal pace that made the original film such a masterpiece. Exactly what K's mission is - and how it ties...
We talk to director Ridley Scott about Blade Runner 2049, the lasting influence of the 1982 original, ancient aliens, flutes, and more...
It's mid-September, and a rug-thick layer of secrecy lies over Blade Runner 2049, the belated sequel to Ridley Scott's 1982 classic. Before our interview with Scott, who executive produces, we're shown approximately half an hour of footage: Ryan Gosling trudging moodily through futuristic landscapes as a new Replicant hunter, K; glimpses of Jared Leto as a new creator of artificial life, named Niander Wallace.
See related Bunny And The Bull interview with Paul King, Simon Farnaby and Edward Hogg Brendan Gleeson interview: The Guard, Don Cheadle, Crocodile Dundee and more
Directed by Denis Villeneuve (Prisoners, Sicario, Arrival), Blade Runner 2049 looks spectacular, with the same measured, ethereal pace that made the original film such a masterpiece. Exactly what K's mission is - and how it ties...
- 9/18/2017
- Den of Geek
Class-act director John Boorman continues to mix genre grit with European-flavored art cinema, and the result is another winner. Toshiro Mifune and Lee Marvin fight a miniature two-man war when they’re marooned together on the same tiny island. Boorman’s strong direction and Conrad Hall’s knockout cinematography insure a maximum visual impact; it’s great filmmaking all around.
Hell in the Pacific
Blu-ray
Kl Studio Classics
1968 / Color / 2:35 widescreen / 103 min. / Street Date June 27, 2017 / available through Kino Lorber / 29.95
Starring: Lee Marvin, Toshiro Mifune
Cinematography: Conrad Hall
Art Direction: Anthony Pratt, Masao Yamazaki
Film Editor: Thomas Stanford
Original Music: Lalo Schifrin
Written by Alexander Jacobs, Eric Bercovici story by Reuben Bercovitch
Produced by Reuben Bercovitch, Henry G. Saperstein, Selig J. Seligman
Directed by John Boorman
Former TV director and producer John Boorman barely survived a first feature with the Dave Clark Five, imitating Richard Lester’s success with the Beatles.
Hell in the Pacific
Blu-ray
Kl Studio Classics
1968 / Color / 2:35 widescreen / 103 min. / Street Date June 27, 2017 / available through Kino Lorber / 29.95
Starring: Lee Marvin, Toshiro Mifune
Cinematography: Conrad Hall
Art Direction: Anthony Pratt, Masao Yamazaki
Film Editor: Thomas Stanford
Original Music: Lalo Schifrin
Written by Alexander Jacobs, Eric Bercovici story by Reuben Bercovitch
Produced by Reuben Bercovitch, Henry G. Saperstein, Selig J. Seligman
Directed by John Boorman
Former TV director and producer John Boorman barely survived a first feature with the Dave Clark Five, imitating Richard Lester’s success with the Beatles.
- 6/27/2017
- by Glenn Erickson
- Trailers from Hell
The opening seconds of the latest trailer for Blade Runner 2049 sent out a clarion call to fans of the original with a single melancholy synthesizer pulse. The sounds of Vangelis’ legendary soundtrack for the original are inextricable from the movie’s appeal. The sequel promises, more than anything else, a return to a very specific fictional world, one defined by the concept art of Syd Mead and cinematographer Jordan Cronenweth’s framing of it. But Vangelis’ music is an equally important component of that world, and a new video by Nerdwriter1 teases out what makes it so resonant, decades later.
A big part of it is the way the film blends score, sound design, and dialogue into one sinuous whole, drenching spoken words in echo and creating abstract sounds that play off individual cuts. This was achieved, in part, by Vangelis’ composition method, wherein he watched edits of the ...
A big part of it is the way the film blends score, sound design, and dialogue into one sinuous whole, drenching spoken words in echo and creating abstract sounds that play off individual cuts. This was achieved, in part, by Vangelis’ composition method, wherein he watched edits of the ...
- 5/19/2017
- by Clayton Purdom
- avclub.com
"Sorry, I just slashed my wrists." "Well, tape 'em!" This is the aftermath of the '60s protest movement. Ivan Passer's riveting murder mystery of flakes and losers in sun-drenched, guilty Santa Barbara expresses the rage of radicals faced with the growing class divide, and the arrogance of the wealthy. Cutter's Way Blu-ray Twilight Time Limited Edition 1981 / Color / 1:85 widescreen / 109 min. / Ship Date , 2016 / available through Twilight Time Movies / 29.95 Starring Jeff Bridges, John Heard, Lisa Eichhorn, Ann Dusenberry, Stephen Elliott, Arthur Rosenberg, Nina Van Pallandt. Cinematography Jordan Cronenweth Production Designer Josan F. Russo Film Editor Caroline Biggerstaff Original Music Jack Nitzsche Writing credits Jeffrey Alan Fiskin, from the novel Cutter and Bone by Newton Thornburg. Produced by Paul R. Gurian Directed by Ivan Passer
Reviewed by Glenn Erickson
Sort of the bad-news post-graduate version of American Graffiti, Ivan Passer's Cutter's Way is a movie with a mindset and background that I partly lived through,...
Reviewed by Glenn Erickson
Sort of the bad-news post-graduate version of American Graffiti, Ivan Passer's Cutter's Way is a movie with a mindset and background that I partly lived through,...
- 4/19/2016
- by Glenn Erickson
- Trailers from Hell
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Divisive among fans though it is, David Fincher's 1992 sequel Alien 3 contains the most powerful shots in the whole franchise, Ryan writes.
Producers didn't want to make it. Many fans were outraged by it. To this day, David Fincher won't talk about it. Released in 1992, Alien 3 was a violent and some would say disappointing contrast to James Cameron's triumphant, Reagan-era Aliens.
Where Aliens formed the near-perfect chapter to Alien, reintroducing Sigourney Weaver's Ripley as an emotionally wounded survivor who faces down her inner demons, Alien 3 served as a mercilessly downbeat coda. The treasures that Ripley managed to snatch away from the loathsome aliens at the end of the 1986 sequel - a surrogate daughter in Newt, a faithful partner in Hicks - were eliminated during Alien 3's opening credits. Ripley the triumphant victor was recast as a lonely warrior at the end of her journey.
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Divisive among fans though it is, David Fincher's 1992 sequel Alien 3 contains the most powerful shots in the whole franchise, Ryan writes.
Producers didn't want to make it. Many fans were outraged by it. To this day, David Fincher won't talk about it. Released in 1992, Alien 3 was a violent and some would say disappointing contrast to James Cameron's triumphant, Reagan-era Aliens.
Where Aliens formed the near-perfect chapter to Alien, reintroducing Sigourney Weaver's Ripley as an emotionally wounded survivor who faces down her inner demons, Alien 3 served as a mercilessly downbeat coda. The treasures that Ripley managed to snatch away from the loathsome aliens at the end of the 1986 sequel - a surrogate daughter in Newt, a faithful partner in Hicks - were eliminated during Alien 3's opening credits. Ripley the triumphant victor was recast as a lonely warrior at the end of her journey.
- 11/23/2015
- by ryanlambie
- Den of Geek
In the immortal words of Calvin Candie, "You had my curiosity. Now, you have my attention." Obviously, the currently untitled Blade Runner sequel is a hot topic for many film geeks, sweatily typing in front of their computers. The first film is a seminal science-fiction film from Ridley Scott, and it not being tampered with is a huge concern for people, though Scott certainly has gone back to it a number of times (there's a box set with five separate cuts of the first film on it). However, the people being brought onto the picture are of some really high quality talent. First off, the sequel will be directed by Denis Villeneuve (Prisoners, Enemy). And it has just been announced that he will be re-teaming with his Prisoners and forthcoming Sicario director of photography, the twelve-time Oscar nominated legend Roger Deakins, for the film. Refer back to Candie's words for that bit of information.
- 5/20/2015
- by Mike Shutt
- Rope of Silicon
As if we weren’t already excited enough about Blade Runner 2, today brings word that cinematographer Roger Deakins has signed on to shoot the long-awaited sci-fi sequel, reteaming with director Denis Villeneuve after two extremely fruitful collaborations on Prisoners and Sicario.
The 12-time Oscar-nominated lenser is without a doubt the best in the business. Over the years, he’s teamed with everyone from Frank Darabont (The Shawshank Redemption) to Stephen Daldry (The Reader). A frequent collaborator of the Coen Brothers and Sam Mendes, Deakins has excelled in every genre he’s ever attempted, never failing to create atmospheric, fully realized worlds for filmmakers to explore.
He’s certainly not best known for futuristic dystopias, having shot just two films – In Time and Nineteen Eighty-Four – that can be considered sci-fi, but it’s going to be absolutely thrilling to see how Deakins recreates the world of Blade Runner (previously lensed by...
The 12-time Oscar-nominated lenser is without a doubt the best in the business. Over the years, he’s teamed with everyone from Frank Darabont (The Shawshank Redemption) to Stephen Daldry (The Reader). A frequent collaborator of the Coen Brothers and Sam Mendes, Deakins has excelled in every genre he’s ever attempted, never failing to create atmospheric, fully realized worlds for filmmakers to explore.
He’s certainly not best known for futuristic dystopias, having shot just two films – In Time and Nineteen Eighty-Four – that can be considered sci-fi, but it’s going to be absolutely thrilling to see how Deakins recreates the world of Blade Runner (previously lensed by...
- 5/20/2015
- by Isaac Feldberg
- We Got This Covered
Oh wow. So cinematographer Roger Deakins has signed on to shoot Denis Villeneuve's "Blade Runner" sequel. I'm paying attention now, folks. Seriously, this whole project has been filed under "whatever" for me for the longest time. But then I have a dirty little secret that I suspect is shared by more than a few who just don't want to get into it: I've never agreed with the legions who think Ridley Scott's original film is an indispensable work of modern art. But…not going to get into it. I've mainly just been snoozing at the prospect of revisiting the material because of your standard grade reboot/sequel-itis. However, when Denis Villeneuve joined up, I got a little excited. This isn't some run-of-the-mill action director sure to lumber his way through the thing. Villeneuve is a pretty intriguing new voice. I didn't love the scripts for "Incendies" or "Prisoners,...
- 5/20/2015
- by Kristopher Tapley
- Hitfix
Ridley Scott’s original Blade Runner is a film that’s revered for its look. However, cinematographer Jordan Cronenweth rarely gets the credit. Instead, it usually goes to his director, production designer, set designer and others. With director Denis Villeneuve‘s sequel now in the works, fans were certainly wondering if the look of the new film could live up […]
The post Roger Deakins Will Shoot ‘Blade Runner 2′ For Denis Villeneuve appeared first on /Film.
The post Roger Deakins Will Shoot ‘Blade Runner 2′ For Denis Villeneuve appeared first on /Film.
- 5/20/2015
- by Germain Lussier
- Slash Film
Stumbling across that list of best-edited films yesterday had me assuming that there might be other nuggets like that out there, and sure enough, there is American Cinematographer's poll of the American Society of Cinematographers membership for the best-shot films ever, which I do recall hearing about at the time. But they did things a little differently. Basically, in 1998, cinematographers were asked for their top picks in two eras: films from 1894-1949 (or the dawn of cinema through the classic era), and then 1950-1997, for a top 50 in each case. Then they followed up 10 years later with another poll focused on the films between 1998 and 2008. Unlike the editors' list, though, ties run absolutely rampant here and allow for way more than 50 films in each era to be cited. I'd love to see what these lists would look like combined, however. I imagine "Citizen Kane," which was on top of the 1894-1949 list,...
- 2/4/2015
- by Kristopher Tapley
- Hitfix
Jeff Cronenweth grew up with cinematography in his bones. His father, Jordan Cronenweth, shot such unique achievements as "Altered States" and "Blade Runner" and it was never much of a question that Jeff would follow in his footsteps. Of late, he's forged a solid, on-going partnership with director David Fincher. Their latest collaboration, "Gone Girl," is another bold step for the icy aesthetic they've been cultivating for decades now. Over the weekend I hopped on the phone with Cronenweth — who was Oscar-nominated for his work on Fincher's last two films, "The Social Network" and "The Girl with the Dragon Tattoo" — to discuss that continued partnership, to chew on the old film vs. digital debate and to discuss some of the specifics of how "Gone Girl" was presented visually. Check out the lengthy back and forth below. "Gone Girl" is now playing in theaters. *** HitFix: I imagine at this point...
- 10/9/2014
- by Kristopher Tapley
- Hitfix
The great Tony Zhou of Every Frame a Painting has returned with a new video which breaks down David Fincher‘s techniques, specifically the things the director doesn’t do. How do self-imposed limitations strengthen shots? How can people talking become cinematic? How many insides of refrigerators can Fincher show us? It’s an excellent, brief examination (7 minutes) that’s probably fascinating to watch just before seeing or re-seeing Gone Girl, particularly the segments on using empty space to share information. You can imagine how zooming in on a broken coffee table offers a nice emotional kick with only a few seconds of screen time, or how staging a young detective far away from the distraught husband might tell you how he feels about him. There are two notes I’d add to this video essay. One, Fincher achieves a great deal of his impressive visuals thanks to a longstanding partnership with Dp Jeff Cronenweth (son of...
- 10/8/2014
- by Scott Beggs
- FilmSchoolRejects.com
Talking Heads' David Byrne presented the 30th anniversary digitally restored 1984 music documentary of the legendary performances in "Stop Making Sense" at Lincoln Center last week and submitted to a Q & A. In the clip below, he talks about how he and director Jonathan Demme ("The Silence of the Lambs," "Philadelphia") collaborated on bringing the stage show to the screen with cinematographer Jordan Cronenweth, and where some of the ideas behind the show came from--mostly the indie downtown arts scene of the period. "Stop Making Sense" remains one of the great concert docs of all time. I may think that because I was there! But I'm not the only one who reveres it: Leonard Maltin calls the film “one of the greatest rock movies ever made” and The New Yorker says it's “close to perfection.” Watch a montage from the film below.
- 8/25/2014
- by Anne Thompson
- Thompson on Hollywood
By Daniel Portilla
Click here for the original article.
Following with the films we will recommend every week, this time we want to introduce “Blade Runner”. Another classic from the ’80 that shows a future Los Angeles with an atmosphere that intents to shape the urban space within which we will move in the current century. The soundtrack, composed by Vangelis deserves to be mentioned as it plays a fundamental role in the comprehension of this futuristic American city.
More info after the break.
Main Info
Original Title: Blade Runner
Year: 1982
Runtime: 117 min.
Country: United States
Director: Ridley Scott
Writer: Hampton Fancher, David Peoples y Roland Kibbee
Soundtrack: Vangelis
Photography Director: Jordan Cronenweth
Cast: Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos, Daryl Hannah
Plot
In Los Angeles 2019, humans have genetically engineered Replicants, which are essentially humans who are designed for labor and entertainment purposes. They are illegal on earth,...
Click here for the original article.
Following with the films we will recommend every week, this time we want to introduce “Blade Runner”. Another classic from the ’80 that shows a future Los Angeles with an atmosphere that intents to shape the urban space within which we will move in the current century. The soundtrack, composed by Vangelis deserves to be mentioned as it plays a fundamental role in the comprehension of this futuristic American city.
More info after the break.
Main Info
Original Title: Blade Runner
Year: 1982
Runtime: 117 min.
Country: United States
Director: Ridley Scott
Writer: Hampton Fancher, David Peoples y Roland Kibbee
Soundtrack: Vangelis
Photography Director: Jordan Cronenweth
Cast: Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos, Daryl Hannah
Plot
In Los Angeles 2019, humans have genetically engineered Replicants, which are essentially humans who are designed for labor and entertainment purposes. They are illegal on earth,...
- 5/21/2012
- Huffington Post
[The following review features a number of spoilers]
Rolling Thunder is the story of Major Charles Ranes (William Devane), a Vietnam vet who returns from years of imprisonment and torture in a Vietcong Pow camp to his home in Texas. He and his prison mate Johnny (Tommy Lee Jones) are greeted at the airport with a heroes welcome and Charles is given a brand new Cadillac and a suitcase of silver dollars in honour of his return. Charles is not the same man who went to war though and even comments that when in prison they referred to the time before imprisonment as when they were alive; the implication that he is now dead rings true in the cold performance by William Devane and the hollow and dark life that the character now lives.
Charles’ wife has moved on and is planning to divorce him and remarry, and his son cannot connect with this stranger that he cannot even remember.
Rolling Thunder is the story of Major Charles Ranes (William Devane), a Vietnam vet who returns from years of imprisonment and torture in a Vietcong Pow camp to his home in Texas. He and his prison mate Johnny (Tommy Lee Jones) are greeted at the airport with a heroes welcome and Charles is given a brand new Cadillac and a suitcase of silver dollars in honour of his return. Charles is not the same man who went to war though and even comments that when in prison they referred to the time before imprisonment as when they were alive; the implication that he is now dead rings true in the cold performance by William Devane and the hollow and dark life that the character now lives.
Charles’ wife has moved on and is planning to divorce him and remarry, and his son cannot connect with this stranger that he cannot even remember.
- 1/27/2012
- by Craig Skinner
- HeyUGuys.co.uk
Following the sad death of director Ken Russell yesterday, James looks back at his sometimes stunning body of work...
While his best years were clearly long behind him, the passing of director Ken Russell, one of the undoubted titans of post-war British cinema, still feels like a huge loss for the world of film. Contrarian, provocateur and a lover of excess in all its forms, Russell was a filmmaker whose work was rarely restrained, seldom safe and almost always memorable, although not necessarily for the right reasons.
Despite a childhood desire to be a ballet dancer, it was as a photographer that Russell initially made his name, and it was through this route that he secured a job in 1959 within the BBC.
Working as an arts documentarian during the 1960s, Russell honed his craft, creating a series of artful, evocative films, mainly focusing on composers such as Debussy, Elgar and Strauss.
While his best years were clearly long behind him, the passing of director Ken Russell, one of the undoubted titans of post-war British cinema, still feels like a huge loss for the world of film. Contrarian, provocateur and a lover of excess in all its forms, Russell was a filmmaker whose work was rarely restrained, seldom safe and almost always memorable, although not necessarily for the right reasons.
Despite a childhood desire to be a ballet dancer, it was as a photographer that Russell initially made his name, and it was through this route that he secured a job in 1959 within the BBC.
Working as an arts documentarian during the 1960s, Russell honed his craft, creating a series of artful, evocative films, mainly focusing on composers such as Debussy, Elgar and Strauss.
- 11/28/2011
- Den of Geek
If you're looking for a little more from a concert film than Justin Bieber: Never Say Never gave you, then Glen has ten suggestions you might want to try...
With Bieber fever gripping the nation’s (and probably the world’s) multiplexes, as Never Say Never leads hordes of adoring fans to don 3D specs and bask in his glory, I thought I’d run through some of my favourite concert films. So here we go:
The Cramps: Live At Napa State Mental Hospital
Forget 3D. By staging a private show for the residents of a Californian mental institution, psychobilly punk band The Cramps came up with the ultimate concert film gimmick. The set is incredibly short, clocking in at around 30 minutes, is shot in grainy black and white, and its audio quality isn’t great, but Live At Napa State Mental Hospital remains a thoroughly engaging performance by the band’s strongest line-up.
With Bieber fever gripping the nation’s (and probably the world’s) multiplexes, as Never Say Never leads hordes of adoring fans to don 3D specs and bask in his glory, I thought I’d run through some of my favourite concert films. So here we go:
The Cramps: Live At Napa State Mental Hospital
Forget 3D. By staging a private show for the residents of a Californian mental institution, psychobilly punk band The Cramps came up with the ultimate concert film gimmick. The set is incredibly short, clocking in at around 30 minutes, is shot in grainy black and white, and its audio quality isn’t great, but Live At Napa State Mental Hospital remains a thoroughly engaging performance by the band’s strongest line-up.
- 3/21/2011
- Den of Geek
As news of a new Blade Runner movie arrives, Ryan wonders whether a worthy sequel or prequel could ever be made…
I'll start by stating the obvious: Blade Runner was a one-off, never-to-be-repeated classic. It was a movie where finances, creative talent and serendipity all came together to produce, not just one of the finest science fiction movies of all time, but one of the most startlingly inventive films ever to come out of Hollywood.
Blade Runner was made at a time when its director was at the height of his creative powers. Fresh from his box office success with Alien, Ridley Scott poured his energies into an adaptation of Philip K Dick's Do Androids Dream Of Electric Sheep, and he probably hasn't made a film as individual or beautiful to behold since.
The same could be said of Vangelis, whose woozy, eclectic score for Blade Runner is inarguably the...
I'll start by stating the obvious: Blade Runner was a one-off, never-to-be-repeated classic. It was a movie where finances, creative talent and serendipity all came together to produce, not just one of the finest science fiction movies of all time, but one of the most startlingly inventive films ever to come out of Hollywood.
Blade Runner was made at a time when its director was at the height of his creative powers. Fresh from his box office success with Alien, Ridley Scott poured his energies into an adaptation of Philip K Dick's Do Androids Dream Of Electric Sheep, and he probably hasn't made a film as individual or beautiful to behold since.
The same could be said of Vangelis, whose woozy, eclectic score for Blade Runner is inarguably the...
- 3/3/2011
- Den of Geek
When The Social Network's Jeff Cronenweth was nominated on Tuesday morning for Best Cinematography, he joined a very rare network: Father-son Oscar nominees. His late father, Jordan Cronenweth, had worked on films such as Blade Runner and was among the chosen cinematographers at the 1987 ceremony for his work on Peggy Sue Got Married. Movieline spoke to Cronenweth while he had a rare free moment on the set of The Girl with the Dragon Tattoo about his reaction to being nominated (hint: he would like to win, too), his competition, and what it means to be in the same company as his late father.
- 1/26/2011
- Movieline
Last week, the cinematographer Jeff Cronenweth, who was in Los Angeles lensing David Fincher’s English-language adaptation of ”The Girl with the Dragon Tattoo” (no other cinematographer has worked with the director more often), was kind enough to give up his Thursday and Friday lunch breaks in order to chat with me by phone about his life and career. Then, this week, the 47-year-old receieved the first major awards recognition of his career, garnering a best cinematography nomination from the American Society of Cinematographers for his work on “The Social Network,” which bodes well for his prospects on snagging an Oscar nomination on January 25, as well. That film, as well as his journey to it and since it, was the subject of most of our conversations.
Click Here To Listen To Our Conversations!
Among the subjects that Cronenweth and I discussed were…
the work of — and his relationship with — his late father,...
Click Here To Listen To Our Conversations!
Among the subjects that Cronenweth and I discussed were…
the work of — and his relationship with — his late father,...
- 1/13/2011
- by Scott Feinberg
- Scott Feinberg
2010 Best Actor Academy Award-winner Jeff Bridges.
Editor’s Note: Congratulations to Jeff Bridges for finally getting his props with last night's win for "Crazy Heart"! He's now officially lost the title of "Most Underrated Actor of His Generation." In the spirit of Jeff's victory, we at The Interview thought it appropriate to share this article, which originally appeared in the July 1999 issue of Venice Magazine. Enjoy, and well-done, Jeff!
Building Bridges
By
Alex Simon
Jeff Bridges is arguably the most underrated great American actor since the late Robert Ryan. A performer of incredible range, whose myriad of characterizations over the past 30 years leave the filmgoer with a continued sense of awe and admiration, Bridges' refusal to fit a mold on-screen might be the very thing that has kept him from becoming a conventional movie star. It's also the thing that has kept his work so fascinating, and so brilliant.
Born...
Editor’s Note: Congratulations to Jeff Bridges for finally getting his props with last night's win for "Crazy Heart"! He's now officially lost the title of "Most Underrated Actor of His Generation." In the spirit of Jeff's victory, we at The Interview thought it appropriate to share this article, which originally appeared in the July 1999 issue of Venice Magazine. Enjoy, and well-done, Jeff!
Building Bridges
By
Alex Simon
Jeff Bridges is arguably the most underrated great American actor since the late Robert Ryan. A performer of incredible range, whose myriad of characterizations over the past 30 years leave the filmgoer with a continued sense of awe and admiration, Bridges' refusal to fit a mold on-screen might be the very thing that has kept him from becoming a conventional movie star. It's also the thing that has kept his work so fascinating, and so brilliant.
Born...
- 3/9/2010
- by The Hollywood Interview.com
- The Hollywood Interview
The International Cinematographers Guild has released a list of the most influential cinematographers in the history of motion pictures. Directors of photography topping the ICG's list, which became a top 11 list because of a tie, are Billy Bitzer, Jordan Cronenweth, Conrad L. Hall, James Wong Howe, Sven Nykvist, Vittorio Storaro, Gregg Toland, Haskell Wexler, Gordon Willis, Freddie Young and Vilmos Zsigmond. "We didn't ask our members to select the most talented or creative cinematographers because that would be like asking artists to choose between Dali and Rembrandt," ICG national president George Spiro Dibie said. "We invited them to choose the cinematographers who have done the most to influence the art form."...
- 10/17/2003
- The Hollywood Reporter - Movie News
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