The Cinematographer's Voice is a unique exploration of contemporary filmmaking and cinematography. The distillation of more than one-hundred interviews with cinematographers from around the world, and the product of a decade's worth of scholarship, the book is not only a collection of interviews with some of the world's leading cinematographers, but also a panoramic sweep of what image-making means in the era of digital cinema. Frequently, cinematography may seem intimidating as a discipline, the preserve solely of practitioners who have learned, through years of exposure to photographic technology, both the required jargon and background knowledge to comfortably engage with an often-technical field. In our present era of film studies, this is no longer the case. The interviews collected here are informative not only on matters of technique, but also on the ways in which practitioners formulate their methodologies, work with directors, and engage with the many logistical hurdles of visual storytelling. The result is an oral history of the past forty years of filmmaking and the cinematography it has produced.
Holman covers the broad field of sound accompanying pictures, from the basics through recording, editing and mixing for theatrical films, documentaries and television shows. In each area, theory is followed by practical sections.
Although cinematographers are vital to the filmmaking process, they don’t always get the recognition they deserve. Directors of cinematography often are responsible for the look of a film and its lasting impression on the viewer, but their skills are not as readily appreciated as those of directors or screenwriters. David A. Ellis had the privilege of meeting with a number of accomplished cinematographers to discuss their art and craft. In Conversation with Cinematographers features interviews with 21 directors of photography--as well as two notable camera operators--most of whom still work in film and television today. In this volume, readers are taken behind the scenes of some of the most successful films and shows of the last several decades. Interviewed in this book are: • Sue Gibson (Hear My Song, The Forsyte Saga) • Gavin Finney (Colditz, Mr Selfridge, Wolf Hall) • Oliver Stapleton (The Cider House Rules, State and Main, The Proposal) • Phil Meheux (The Fourth Protocol, Casino Royale) • Brian Tufano (Trainspotting, Billy Elliot, The Evacuees) • Clive Tickner (Traffik, The Puppet Masters, Inspector Morse) • Stephen Goldblatt (The Prince of Tides, Angels in America, The Help) • Seamus McGarvey (High Fidelity, Atonement, The Hours) • Peter MacDonald (Excalibur, Hamburger Hill, Rambo 3) • Mike Southon (Gothic, Doctor Who: The Hider in the House) • Rob Hardy (Every Secret Thing, Testament of Youth, Ex Machina) • Harvey Harrison (101 Dalmatians, The Expendables, Sahara) • Mike Valentine (Shakespeare in Love, Skyfall, The Bourne Ultimatum) • Robin Browne (Gandhi, A Passage to India, Air America) • Adam Suschitzky (Life on Mars, The Whisperers) • Ken Westbury (Dr. Fischer of Geneva, The Singing Detective) • Simon Kossoff (Young Charlie Chaplin, Client 9,The Daisy Chain) • Chris Seager (Call the Midwife, Game of Thrones) • David Worley (Quantum of Solace, Thor: The Dark World, The Full Monty) • Trevor Coop (Amadeus, Ballykissangel, Chocolat) • Haris Zambarloukos (Mama Mia, Cinderella, Jack Ryan: Shadow Recruit) • Peter Hannan (The Gathering Storm, My House in Umbria, The Razor’s Edge) • Roger Pratt (Shadowlands, Harry Potter and the Goblet of Fire, Batman) These cinematographers recount their experiences on sets and reveal what it was like to work with some of the most acclaimed directors of recent times, including Danny Boyle, Francis Ford Coppola, Clint Eastwood, Lasse Hallstrom, David Lynch and Steven Spielberg. With valuable insight into the craft of moviemaking and featuring more than forty photos, this collection of interviews will appeal to film professors, scholars, and students, as well as anyone with an interest in the art of cinematography.
In Conversations with Cinematographers, David A. Ellis has assembled interviews with some of the most influential and highly regarded cameramen of the last half century and more. While their names may not be known by the general public, these men and their work have left indel...
As chief collaborators with the directors on a film, cinematographers are artistic masters in their own right. In Cinematography sixteen of the world's greatest "painters of light" share their insights, anecdotes, and technical achievements through a series of exclusive interviews. Fascinating for both film fans and practitioners, this book is the perfect companion for anyone who wants to stand on the other side of the camera, with some of the greatest film artists of our time.
Based on extensive reviews and research, this book looks at the work of six of the most important cinematographers of recent years from around the world. For each there is a detailed discussion of their most significant films, ranging in style from lavish Hollywood blockbusters to innovative independents.
Robert Bresson makes some quite radical distinctions between what he terms "cinematography" and something quite different: "cinema"-which is for him nothing but an attempt to photograph theater and use it for the screen. Director of "The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a Country Priest, Money," and many other classic films, Robert Bresson is, quite simply, one of the most brilliant cinematographers in the history of film.
This book presents a new, story-based approach to cinematic coverage and storytelling in film and video. It breaks from the conventional idea that shots are the fundamental unit of filmmaking, instead exploring the specifics of determining coverage. Keyframes in patterns are introduced, delivering scripted material in a context-rich presentation that supports the storytelling. All the analysis, interpretation, and creative decision making is done first, with shots derived as the very last step. Scripted material is divided into six categories with associated patterns. Like cinematic building blocks, these can freely stack up and interconnect, supporting creativity and avoiding rigid formulas. This approach enables filmmakers to tap into the film "language" that audiences already understand and put it to practical use, helping the audience to feel the storytelling deeply. Dozens of film examples are provided throughout, plus conceptual and camera diagrams to contextualize the methods presented, and exercises are provided to reinforce concepts. Emphasis is placed on supporting performance and story meaning through a cinematic context. With all the concepts and decision-making options described and shown in examples, a scripted scene is analyzed and developed through an eight-step process, illustrated with storyboard, camera diagrams, and ultimately shot list descriptions. The book is ideal for filmmaking students interested in directing and cinematography, as well as aspiring and early-career filmmakers, cinematographers, and directors.
