—We should’ve talked at the boatyard. you don’t wanna talk about it here.
—I’m not falling all over myself to talk about it much of anywhere, Jack.
When you’re observing me, who do you think I’m observing?
Portrait of a Lady on Fire (2019)
— dir. Céline Sciamma, cinematography by Claire Mathon
You don’t get to hate it unless you love it.
THE LAST BLACK MAN IN SAN FRANCISCO (2019), dir. Joe Talbot
Hustlers (2019) dir. Lorene Scafaria
“The intention is not to evoke the lust of the money-hurling mass of customers but to show us Ramona the way Destiny sees her, as this powerful, enviable whole.
Later, when Destiny finds Ramona out on the club’s rooftop, smoking a cigarette while sprawled out in her fur coat, it’s a tableau that’s both glorious and solitary, the skyline behind her and the city seemingly at her feet.”
JUICY shorts but they say CINEMATOGRAPHY across the ass
It’s what Andrei Tarkovsky would have wanted
We storyboarded a few shots, tracking and looking down the street at dawn, which we actually did. But in the middle of the night, when we couldn’t do much else and were waiting to set up the dawn shot, we decided to do this side track-in. It’s kind of lovely the way the horse just whips through frame and then is gone and the snow sort of shifts around him. And that’s the one they used, I think because it’s so pure and simple. That was the whole thing about the film, really. It’s not fussy.
— Roger Deakins, BSC, ASC