cinephilearchive:

Garrett Brown, the inventor of the Steadicam, talks about the nuts and bolts of The Shining's production, with plenty of behind-the-scenes insight into the Kubrick filmmaking process. “His discussions of Kubrick as a filmmaker who approached film from an almost scientific point of view are interesting and readily apparent when watching the film. A perfect example of how a commentary can really enhance your appreciation of a film.”

“I guess I wanted to be there myself because Kubrick is, let’s face it, The Man. He is the one director working who commands absolute authority over his project from conception to release print. The ultimate technologist, but more, his technology serves a larger vision which is uniquely his own. He is a filmmaker in the most pure sense of the word. I learned a great deal about the making of movies from simply being on hand for the stupefying number of discussions which sought to improve one aspect or another of the production.” —Garrett Brown

Two articles from the August 1980 issue of American Cinematographer, detailing the making of Stanley Kubrick’s horror masterpiece. The first article consists of an interview with cinematographer John Alcott, while the second article — The Steadicam and The Shining — looks in detail at the Steadicam, Garrett Brown’s then-brand-new stabilization rig.

In this great short documentary, Garrett Brown taks about ‘Rocky’ (and the famous ‘stairs’ shot), ‘Bound For Glory,’ and of course his revolutionary invention — the Steadicam. A must see for anyone whose passion is cinematography.

There is also an incredible interview with Garrett Brown on his experience on Brian De Palma’s masterpiece ‘Blow Out.’

Garrett Brown likes to find problems that need inventive solutions: among them, the SteadiCam, SkyCam, and other unique cameras that have transformed our perspective on filmmaking. At the EG4 (2010) Conference.

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(via fuckyeahsciencefiction)

dexters-lab:

The Visual Themes of Wes Anderson

If you have not had the opportunity to “experience” a Wes Anderson film, this should help you to understand why he is visually one of the best directors in film right now.

The amount of planning and detail that he puts into each frame is complimented by the complexity of every character in his films.  He is the one of the kings of true mise-en-scène.

cinephilearchive:

“‘Hunger.’ ‘Shame.’ ‘12 Years a Slave.’ The films of Steve McQueen are uncompromising in their subject matter and captivating in their use of cinema’s unique language. A director who elevates film into a means for the expression of the human condition, there is no denying of McQueen’s alluring ability to shed light on cinema as art.” —Edwin Adrian Nieves, A-BitterSweet-Life
“Film is important; it can be more than reportage or a novel—it creates images people have never seen before, never imagined they’d see, maybe because they needed someone else to imagine them.” —Steve McQueen

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

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cinephilearchive:

“‘Hunger.’ ‘Shame.’ ‘12 Years a Slave.’ The films of Steve McQueen are uncompromising in their subject matter and captivating in their use of cinema’s unique language. A director who elevates film into a means for the expression of the human condition, there is no denying of McQueen’s alluring ability to shed light on cinema as art.” —Edwin Adrian Nieves, A-BitterSweet-Life

“Film is important; it can be more than reportage or a novel—it creates images people have never seen before, never imagined they’d see, maybe because they needed someone else to imagine them.” —Steve McQueen

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

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cinephilearchive:

Cinematographers — or ‘directors of photography’, if you’re not into the whole brevity thing — have been the unsung heroes of cinema since the year dot. If the writer is a movie’s synapses and the director is its heart, the DP is the eyes. Manipulating light, depth and perspective to elevate even the most simple stories into things of beauty, they are often filmmaking’s unsung heroes. Gregg Toland, Freddie Young, Jack Cardiff, Vittorio Storaro, Conrad Hall, Jordan Cronenweth, Christopher Doyle, Roger Deakins… the roll call of greats is glorious. To celebrate their achievements and demystify their work, Empire’s Film Studies 101 asked 21 of cinema’s top DPs to pick a moment in the history of the art that has inspired and moved them. Empire is proud to share their selections with you. —Top cinematographers reveal their favourite movie moments: 21 DPs pick the shots that inspire them

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.

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

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