As part of the fanworks exchange "A Holmesian Solstice", fanvidder sanguinity made "Something Good (Will Come From That)" (video, 3min16sec), covering "One hundred years of moving pictures about Holmes and Watson." The fifty-four video sources used include Sherlock Holmes stories from several countries, including India, Russia, China, South Korea. The vidder's commentary discusses noticeable changes in cinematography over the past century, how those changes make Holmes and Watson more or less "shippy", re-gendered and chromatic retellings, and contemporary settings versus the "It's always 1895" conceit.
Cinema Palettes is a Twitter account that takes frames from films old, new and those to come and then breaks down the color palette of that frame.
"In order to recover a bit from a recent feeling of exhaustion, I spent a significant amount of this past weekend diligently sitting on my ass, in front of the television. On Saturday night, I popped in my copy of Woody Allen’s 'Manhattan,' which, among other things, is as stunningly designed a movie as I’ve ever seen. This is largely thanks to the work of Gordon Willis, a master cinematographer who, apart from his incredible work on this film, was also responsible for photographing an alarmingly high share of my favorite movies of all time: 'The Godfather,' 'The Godfather Part II,' 'All the President’s Men,' and 'The Parallax View,' among others." [more inside]
Craft Truck is a filmmaker website and home of the web series Through the Lens, a regular series of interviews with leading cinematographers. [more inside]
Christopher Doyle, cinematographer for Wong Kar-Wai's most acclaimed works (and dozens of other movies), calls Life of Pi's Academy Award an "insult to cinematography" in a recent interview. He elaborated: "What a total fucking piece of shit." (Part 1 of the same interview, more informative but less entertaining) [NSFW film posters and language]
"Fast Company’s four-hour interview with [Martin Scorsese] for their December-January cover story: How to Lead A Creative Life, was ostensibly about his career, and how he had been able to stay so creative through years of battling studios. But the Hugo director punctuated everything he said with references to movies: 85 of them, in fact." Welcome to Martin Scorsese’s Film School: The 85 Films You Need To See To Know Anything About Film [more inside]
Drive and Bellflower are both movies with fast cars and distinctive looks but one had a budget 765x the other. Drive was captured to Betamax's grandchild, Bellflower to a Mac Book Pro. [more inside]
"Because the camera is so close to the character(s) being followed, we feel that we're physically attached to those characters, as if by an invisible guide wire, being towed through their world, sometimes keeping pace, other times losing them as they weave through hallways, down staircases or through smoke or fog." A video montage and essay by Matt Zoller Seitz. All shots are identified at the end; you may know more of them than you think. (via)
"Hitch was always trying to push the limits on techniques and to be different". Cary Grant chased by a crop-duster plane in a corn field; Janet Leigh screaming in the shower; Tippi Hedren attacked by killer seagulls. The man behind lens? Leonard J. South (1914-2006) , Hitchcock's camera operator. More inside.
Will we ever know what is real anymore? The making of the Matrix sequels. After these movies, will we ever be able to tell what is real or not on the small and large screen?