beeb wrote:Well, just got home from seeing "The Revenant". Not an easy watch (long and pretty brutal in parts), but WOW is it beautifully filmed.
Some really stunning use of UWA's and also close-up tracking shots.
W G wrote:Pretty much anything by Kubrick — especially "Barry Lyndon". Early in his life Kubrick was a photographer and the impact of that shows consistently — he creates an image and then lets the action take place within it.
"Amelie" is a tour de force of designing an entire production around one lens.
As you'd expect, I'll put a vote for some B&W and Cinema Noir classics like "Casablanca" and "The Third Man".
Of course, the truly magnificent impact of the DOP is to be unobtrusive a lot of the time and set a look that re-inforces the mood of a piece.
"Citizen Kane" takes things to extremes with sets designed to exaggerate the optical distortion of the optics. Gregg Tolland set new boundaries.
I agree about "Apocalypse Now" and would add "The Godfather" — nothing short of brilliant. In Apocalypse Storaro had Marlon Brando on screen for minutes without fully revealing him. Breathtaking for me. Similar tenebrous wonders happen with the Godfather's family in the back of a car at night. The timing of the flashing streetlights is such that as each actor has a line of dialogue is is hit by a blob of light in a stunningly choreographed ballet of lamps and gobos.
Whatever possessed me as a kid to give away working in the movies to opt for stills?
Plays with Light wrote:I can't believe that no one has mentioned old Hitchcock as yet! For masterful use of light and scene, he's hard pressed to beat, in my eyes.
The Fifth Element has a great sense of quirk through its cinematography.
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