Congrats to the Oscar Nominees

[Jayson Crothers]

I think there's also this issue here of some people running away from an approach to a visual style, simply because it's already been done. I interviewed for a film that was to take place entirely in the dryest pits of the Nevada desert; the story seemed to simply scream for hot, bleak images. In speaking with the director, he wanted to have as much color saturation as possible while also giving it all a romantic, yet cool look (go figure out that one). When I asked him why, he stated that he'd already seen deserts look hot, and he wanted to just be different....regardless of the story.

 

One could use this logic to argue that war movies should no longer use handheld cameras since "Saving Private Ryan" used them so effectively.

 

I felt that the work in "The Last Samurai" was appropriate; some of it was obviously influenced (perhaps too heavily) by his "Braveheart" work, but it was in no way bad or wrong. Again, we should all be so fortunate to one day create work like Toll.

[Mitch Gross]

I think there's also this issue here of some people running away from an approach to a visual style, simply because it's already been done.

Yes, it is a disservice to the film to not shoot in what would otherwise be the most appropriate style simply because it's been done before. Whenever I cut together a new reel I'm taken with how many shots look exactly the way I wanted them to but are not appropraite for my reel. They were appropriate for the film but they don't necessarily show off what I am capable enough when viewed out of context. And context is everything.

[Sam Wells]

If John Toll had done nothing else but "The Thin Red Line" his talent would be proven.

 

Too bad he was up against Janusz Kaminski that year (who won it, right ?)

 

I'm personally rooting for Cesar Charlone for "City of God" because it used so much Super 16, it would be a mini-coup or something.

 

I figure if he wins Panasonic will only sell 45,000 DVX100A's this year instead of 50,000 :D

(nothing against Panasonic mind you)

 

I don't get too worked up about all this.... although I did want to see Michael Chapman win years back for "Raging Bull" (I wanted to see a B&W winner ! - and his work was truly great) but, because Geoffrey Unsworth had taken over for Ghislain Cloquet (sp?) when he died during the shooting of "Tess" they pretty much had to give it to him. (Not that he didn't deserve it either).

 

-Sam

[David Mullen ASC]

Actually, it was Clouquet that took over because Unsworth had died.

 

Unsworth was the first DP I really studied, after I saw "Superman" and saw that it was dedicated to his memory, which caught my attention. I read articles on Unsworth and started watching his other movies.

 

His parts in "Tess" (mostly in the first third) are probably the most beautiful.

[Sam Wells]

Actually, it was Clouquet that took over because Unsworth had died.

 

Unsworth was the first DP I really studied, after I saw "Superman" and saw that it was dedicated to his memory, which caught my attention. I read articles on Unsworth and started watching his other movies.

 

His parts in "Tess" (mostly in the first third) are probably the most beautiful.

Thanks for the correction, David.

 

I have to say although I have a slight memory of some differences in parts of "Tess" (a film I really liked) I couldn't recall favoring any over any others. In fact the film grew on me as it went along.....

 

Anyway, for Cloquet: with "Au Hasard, Balthazar" and "Mouchette" among his credits - not TOO shabby !!

 

-Sam

[David Mullen ASC]

Basically, you can tell who shot what by the use of Fog Filters, which were Unsworth's trademark. There's even two scenes in the same location of the girls milking cows in a barn where one was shot with Fogs and the other clean. The amazing sunrise shot of Angel, and the sunset hayride at the beginning, were Unsworth's. Cloquet did the more dramatic scenes of Tess' troubles, which are cleaner and harder-looking, which makes sense story-wise.

 

You can also spot the Unsworth / Donner footage in "Superman 2", even the half of the moonscape scene he shot. Essentially, his shots are better lit than Robert Paynter's and the camera angles are more unusual (a Donner touch). Sarah Douglas is lit softer, with Fog Filters on the lens, and paler make-up, in Unsworth's footage.