Films that have had a profound influence on your own work.

[Andrew Rieger]

This should be interesting.

 

List the films and the cinematographers who shot them, that have had a profound influence on your own personal style. They do not need to be in any particular order. Post away.

 

Here are mine:

 

The Third Man (1949), Cinematography by Robert Krasker

 

 

Apocalypse Now (1979), Cinematography by Vittorio Storaro

 

 

There Will Be Blood (2007), Cinematography by Robert Elswit

 

Edited May 20, 2010 by Andrew Rieger

[Andrew Rieger]

Pulp Fiction (1994), Cinematography by Andrzej Sekuła

 

 

Out of the Past (1947), Cinematography by Nicholas Musuraca

 

 

The Fall (2008), Cinematography by Colin Watkinson

 

 

Children of Men (2006), Cinematography by Emmanuel Lubezki

 

 

Stalker (1979), Cinematography by Alexander Knyazhinsky

 

[Andrew Rieger]

The Assassination of Jesse James by the Coward Robert Ford (2007), Cinematography by Roger Deakins

 

 

2001 A Space Odyssey (1968), Cinematography by Geoffrey Unsworth

 

 

Werckmeister Harmonies (2000), Cinematography by Patrick de Ranter

 

 

Soy Cuba (1964), Cinematography by Sergey Urusevsky

 

 

The Thin Red Line (1998), Cinematography by John Toll

 

[Andrew Rieger]

City of God (2002), Cinematography by César Charlone

 

 

Come and See (1985), Cinematography by Alexei Rodionov

 

 

Blade Runner (1982), Cinematography by Jordan Cronenweth

 

[Pilvari Pirtola]

Begotten (1990) by Elias E. Merhige

[David Mullen ASC]

I grew up in the 1970's and graduated high school in 1980, so I'm a product of that time, particularly the post "Star Wars" era. I'm also half-Japanese and have had a natural interest in that culture.

 

So my early years were filled with watching "Star Trek" re-runs and Japanese monster movies, particularly the original "Godzilla".

 

That led me into reading science fiction books and watching "Space: 1999" when it aired, and seeing "2001" when it first aired on national television in 1975-ish.

 

Next I saw "Star Wars" and "Close Encounters", but it really was the second that got me excited about filmmaking. It was the first movie where I noticed how it was directed, edited, and lit. That was followed by "Superman: The Movie", the first film where I noticed the cinematographer's name, since the movie was dedicated to him. That made me curious about what a cinematographer did. I discovered an issue of "American Cinematographer" devoted to "Superman" and Geoffrey Unsworth's career, probably picked it up at a science fiction convention where I was trying to sell some of my art.

 

Around the time of high school graduation, Kurosawa's "Kagemusha" came out, starting my interest in Kurosawa movies. I went off the college and fell in love with "Seven Samurai". The early 1980's was also to time of Storaro and his work in "Apocalypse Now" and "Reds", a major influence on me. I also saw "Days of Heaven" the first time in a 16mm print that a professor showed our film class.

 

In fact, I'd have to say that it was the combination of the British cinematography of Unsworth, Watkin, Alcott, Young, and Morris (I was a huge fan of British cinema, particularly their sci-fi / fanstasy movies) combined with my love of Storaro's work, plus the cinematography of those Spielberg movies I loved (the work of Zsigmond, Daviau, Fraker, Slocombe) that had the biggest influence on my style.

 

In terms of movies in general, the 1980's was also when I became obsessed over the older films of Kurosawa, Lean, Hitchcock, Welles, Kubrick. But I have to say that big widescreen sci-fi epics were my biggest interest. At some point, I even considered going into visual effects.

[Andrew Rieger]

I grew up in the 1970's and graduated high school in 1980, so I'm a product of that time, particularly the post "Star Wars" era. I'm also half-Japanese and have had a natural interest in that culture.

 

So my early years were filled with watching "Star Trek" re-runs and Japanese monster movies, particularly the original "Godzilla".

 

That led me into reading science fiction books and watching "Space: 1999" when it aired, and seeing "2001" when it first aired on national television in 1975-ish.

 

Next I saw "Star Wars" and "Close Encounters", but it really was the second that got me excited about filmmaking. It was the first movie where I noticed how it was directed, edited, and lit. That was followed by "Superman: The Movie", the first film where I noticed the cinematographer's name, since the movie was dedicated to him. That made me curious about what a cinematographer did. I discovered an issue of "American Cinematographer" devoted to "Superman" and Geoffrey Unsworth's career, probably picked it up at a science fiction convention where I was trying to sell some of my art.

 

Around the time of high school graduation, Kurosawa's "Kagemusha" came out, starting my interest in Kurosawa movies. I went off the college and fell in love with "Seven Samurai". The early 1980's was also to time of Storaro and his work in "Apocalypse Now" and "Reds", a major influence on me. I also saw "Days of Heaven" the first time in a 16mm print that a professor showed our film class.

 

In fact, I'd have to say that it was the combination of the British cinematography of Unsworth, Watkin, Alcott, Young, and Morris (I was a huge fan of British cinema, particularly their sci-fi / fanstasy movies) combined with my love of Storaro's work, plus the cinematography of those Spielberg movies I loved (the work of Zsigmond, Daviau, Fraker, Slocombe) that had the biggest influence on my style.

 

In terms of movies in general, the 1980's was also when I became obsessed over the older films of Kurosawa, Lean, Hitchcock, Welles, Kubrick. But I have to say that big widescreen sci-fi epics were my biggest interest. At some point, I even considered going into visual effects.

 

My college roommate is obsessed with Kurosawa and he has the giant box set with practically all his films. We have made it through about 8 or so of them and Ran is certainly a masterpiece, as is Rashomon, Seven Samurai, and Yojimbo. I love the sci-fi epics as well. My roommate and I would love to make a sci-fi throwback film that emulates the look of the original Star Wars Trilogy and Star Trek films using old-school special effects and miniatures. Not sure if it something that studios or the public would be interested in but fans of that era would enjoy it and guys like Tarantino seem to do well financially with throwback films so you never know. It would certainly be a nice change of pace from all the gci.

Edited May 21, 2010 by Andrew Rieger

[Andrew Rieger]

Here are some others that have influenced me:

 

The Man Who Wasn't There (2001), Cinematography by Roger Deakins

 

 

Ran (1985), Cinematography by Asakazu Nakai, Takao Saito, and Masaharu Ueda

 

 

Schindler's List (1993), Cinematography by Janusz Kamiński

 

 

Kingdom of Heaven (2005), Cinematography by John Mathieson

 

 

Limits of Control (2009), Cinematography by Christopher Doyle

 

[Mei Lewis]

Schindler's List (1993), Cinematography by Janusz Kamiński

 

I've never seen Schindler's List, but does it really use selective color?!?!?!?!?

[Adrian Sierkowski]

I believe only for 1 or two scenes. I know there is the opening and the bit with the girl in red; but that's all I can think of.

[Mei Lewis]

Wow, that really surprises me. The cheapest, tackiest gimmick that cynical wedding photographers use and that film got so much approbation.

[David Mullen ASC]

Wow, that really surprises me. The cheapest, tackiest gimmick that cynical wedding photographers use and that film got so much approbation.

 

It serves a story point. You should see the movie before you make such a comment.

[Andrew Rieger]

Wow, that really surprises me. The cheapest, tackiest gimmick that cynical wedding photographers use and that film got so much approbation.

 

The use of selective color in the film was quite effective. David is right, see a film before you criticize. Ever see Sin City, the whole film is B/W with selective color, hardly a cheap gimmick. And why so much hate for wedding photographers, they are some of the hardest working photographers around and the job is super super stressful. Plus, they get no respect from "serious" photographers. Sure its not the most exciting job in photography but many are very creative individuals who need to pay the bills and could shoot circles around some so-called artistic photographers.

[Brian Drysdale]

Being made in 1993, I suspect it was also done well before any wedding use of the technique. Except, perhaps, by rather expensive, stylish wedding photographers of that period.

[David Mullen ASC]

Tinting objects with color in a b&w movie goes back to the Silent Era.

 

Another example would be Kurosawa's "High & Low", a 1960's era widescreen b&w movie. At one point, the suitcase containing the ransom money has been treated by the police so that if the kidnapper attempts to burn it, it would send up a cloud of pink smoke. Later, you see a POV from the hilltop mansion of the city below, and a cloud of pink smoke rising in the b&w landscape.

 

Hitchcock added a red tint to a flash of gunfire near the end of his b&w "Spellbound."

[Mei Lewis]

I didn't mean that its use in the film was tacky, just that its use elsewhere almost always is (all the uses I've seen anyway). I haven't seen the film so I don't know how it works there, I was just surprised it was used at all. I suppose I should see the film because of this, though I have no other interest in it.

 

Sin City is a very different movie and I'm not surprised by the technique being used there. The computer game Mad World has a very similar look that works well for it.

 

 

And I'm certainly not hating wedding photographers! I photograph weddings myself! Some of the best photographers shoot weddings. It attracts talent because the financial rewards are there and it can also be very enjoyable and fulfilling.

 

I know some people rag on wedding photographers but I'm not one of them.

Still, like any other kind of job there are people who go with trends and do whatever they can to make as much money from people as they can. I'd describe them as cynical wedding photographers.

[Mei Lewis]

Being made in 1993, I suspect it was also done well before any wedding use of the technique. Except, perhaps, by rather expensive, stylish wedding photographers of that period.

 

Being expensive doesn't make them stylish, and being stylish doesn't mean I'd like their photos.

[Brian Drysdale]

Being expensive doesn't make them stylish, and being stylish doesn't mean I'd like their photos.

 

In pre Photoshop days it would've been expensive, liking or disliking a style is personal and is a judgement at a particular moment in time and overuse can devalue an visual image. As an effect it would've been unusual in a wedding photograph of that period, perhaps something found more in advertising.

Edited May 21, 2010 by Brian Drysdale

[Andrew Rieger]

Here are a few more:

 

The Royal Tenenbaums (2001), Cinematography by Robert Yeoman

 

 

2046 (2004), Cinematography by Christopher Doyle

 

 

Once Upon a Time in the West (1968), Cinematography by Tonino Delli Colli

 

 

Touch of Evil (1958), Cinematography by Russell Metty

 

[Phil Rhodes]

I try not to suffer inspiration, it only serves as a vector for disappointment!

[Liam Howlett]

I try not to suffer inspiration, it only serves as a vector for disappointment!

 

Exactly, cause you're almost forced to "copy" which isn't good in itself. Everyone has to have his own eye and develop his own style. I may be wrong in my judgment but to each his own.

 

I personally love cinematography from all eras, but having been of the MTV generation I love more modern cinematography. Of anything from David Fincher for example, and Darius Khondji, Chris Cunningham's music vids. etc

Edited May 25, 2010 by Liam Howlett

[Pat Murray]

Wow, that really surprises me. The cheapest, tackiest gimmick that cynical wedding photographers use and that film got so much approbation.

 

 

The use of colour to draw the viewer's eye to a subject extends beyond wedding photography and movies. The masters of oil and canvass have used the technique for centuries. Sometimes subtle, sometimes not to subtle. It can be cutsey and tacky and gimmicky, but used as a tool of artistic expression by a master it can be a powerful work of art. Such as the scene with the girl in red during the clearing of the Jewish ghetto was.

 

Her red grabbed the viewer's eye and took him/her on a tour of the horrors of that night.