Šio mėnesio American "Cinematographer" klausia... THIS MONTH’S ONLINE QUESTION: Which shots or sequences have inspired you the most? Pritariu dėl "Tree of Life" ir Tarkovskio (žiūrėti žemiau), o kokios Jūsų mėgstamiausios nufilmuotos scenos ir iš kokių filmų. Smalsu ar tarp jų būtų lietuviškų? Adrian Sierkowski:“The Lexington Hotel sequence from Road to Perdition[shot by Conrad Hall, ASC]. It’s an amazing shot on a technical level, beautifully lit, and though very intricate it’s not overly flashy or distracting. It shows what it needs to show and really builds tension as we move closer and closer to a murder.” Blake Larson:“The opening scene of The Godfather, shot by Gordon Willis, ASC. It ushered in an entirely new era of dramatic cinematography.” Richard Vialet: “The beautifully composed shot of Anju stepping out into the lake in Sansho the Bailiff [shot by Kazuo Miyagawa].” J.J. Islas:“The scene in Touch of Evil[shot by Russell Metty, ASC] when Hank Quinlan [Orson Welles] murders Uncle Joe Grandi [Akim Tamiroff]. I’ve never seen any other sequence quite like it.” Matt Croyle: “The school bus/hallway sequence in Donnie Darko[shot by Steven Poster, ASC]. It’s a marriage of soundtrack and camera. The change of speed, the highlighting of each character — it’s simply too fun not to get swept up in it.” Frank Salvatierra:“The final scene of Fallen Angels[shot by Christopher Doyle, HKSC] — a beautiful, simple, abstract combination of cinematography, music and performance.” David Golden:“The most epic shootout ever committed to film: Heat[shot by Dante Spinotti, ASC, AIC]. I watched that and remember saying to my girlfriend at the time, ‘I wanna do that!’ Twenty-odd years later, I am. Life-defining moment!” Adrian Shahrizad:“The ‘God’s-eye view’ from Taxi Driver [shot by Michael Chapman, ASC] right after the climax. This type of camera angle puts you in a position to judge, and after that scene, that’s exactly what you need.” Clark Mayer:“I always thought the scene in Jurassic Park [shot by Dean Cundey, ASC], when Grant [Sam Neill] pulls Lex’s [Ariana Richards] leg up through the ceiling before the raptor bites it is one of the single most suspenseful shots I have ever seen. It’s the kind of shot rewind and slow-motion frame skipping were invented for.” Filipe Carvalho:“All of The Tree of Life[shot by Emmanuel Lubezki, ASC, AMC].” Tony Murphy:“The hula-hoop sequence in The Hudsucker Proxy[shot by Roger Deakins, ASC, BSC]. Like every great sequence, it’s a movie in itself.” Elias le Daaboul:“Grace Kelly going in for the kiss in Rear Window [shot by Robert Burks, ASC].” Lance Mazmanian: “The handheld, fullmagazine follow/master with multiple exposure changes in Steven Spielberg’s Duel[shot by Jack Marta, ASC] — the scene when Dennis Weaver walks from daylight outside, into the diner, through the diner, to the dimly lit bathroom, where he talks to the mirror and then goes back out to consider all the patrons while standing in the middle of the diner. All one shot, in a 1971 made-for-TV movie!” Denis Buckley:“The house-fire sequence in Tarkovsky’s The Mirror [shot by Georgi Rerberg]. The language of film is its own music.” Matt Manning:“In Lawrence of Arabia[shot by Freddie Young, BSC], as Lawrence ventures into the desert, the sense of scale is amazing. The men and their camels are hardly visible among the towering cliffs.” SEE AND HEAR MORE CINEMATOGRAPHY COVERAGE AT WWW.THEASC.COM
Posted on: Sat, 17 Aug 2013 19:37:05 +0000
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