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Alexandros Angelopoulos Apostolos

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  1. Alexandros Angelopoulos Apostolos
    He was wonderful at the press conference (the video is included in the article I posted above). :) Too bad he didn’t speak a bit more or about some other aspects of this project, which weren’t mentioned elsewhere before. Any thoughts about the trailer in terms of cinematography?
  2. Alexandros Angelopoulos Apostolos
    It is in France. And it will be shown in Seattle on 19 May 2016, as the non-competing part of the Seattle International Film Festival. Two dates are mentioned for the U.S.: 15 July and 29 July. Everywhere I looked, the praise for what Storaro did here is quite high. There are at least three iconic shots mentioned, one in a motel lit only by candles (someone compared it to Barry Lyndon) and a dawn scene, if I remember that correctly, in Central Park. I can’t remember what the third one was.
  3. Alexandros Angelopoulos Apostolos
    It’s funny that you should say this because I was just reading that thread where someone asked about screenwriting. And just as this message board isn’t dedicated to that literary endeavour, neither are all these threads I started about Woody Allen, but rather about the cinematographical aspect of his work. So I was just wondering if David, like Mark Kenfield above and Satsuki before Mark, had any quick impressions of the cinematography from the trailer. What about you, Freya? Any thoughts? :)
  4. Alexandros Angelopoulos Apostolos
    I knew I read this somewhere, and now I finally found it: The commentator was mark grant. It was in the comments below this version:
  5. Alexandros Angelopoulos Apostolos
    This will probably be another example:
  6. Alexandros Angelopoulos Apostolos
    Press conference, among other things, which Storaro attended, too: http://www.woodyallenpages.com/2016/05/cafe-society-videos-from-cannes-interviews-press-conference-photocall/
  7. Alexandros Angelopoulos Apostolos
    Waiting for your impressions. :)
  8. Alexandros Angelopoulos Apostolos
    The premiere is actually at 8 PM.
  9. Alexandros Angelopoulos Apostolos
    Premieres tonight at Cannes. I believe I read 7.30 PM local time. Pictures from the press conference: http://www.theguardian.com/film/gallery/2016/may/11/cannes-2016-woody-allen-kristen-stewart-blake-lively-in-pictures Vittorio Storaro has spoken to Le Monde, but the interview is behind the paywall. The article is 2 euros: http://www.lemonde.fr/festival-de-cannes/article/2016/05/11/vittorio-storaro-je-crois-aux-affinites-electives_4917228_766360.html There are tons of coverage around. And the first reviews are up.
  10. Alexandros Angelopoulos Apostolos
    Extracts:
  11. Alexandros Angelopoulos Apostolos
    Just a quick pop up from me to let you know about The Hollywood Reporter interview: http://www.hollywoodreporter.com/features/woody-allen-interview-he-wont-889678 Nothing cinematographically relevant, except perhaps the photo of Vittorio and Woody together. I wonder what that light is behind them. Woody is also doing the rounds in French newspapers: http://www.woodyallenpages.com/2016/05/new-woody-allen-kristen-stewart-french-interviews-for-cafe-society/
  12. Alexandros Angelopoulos Apostolos
    Which part do you mean? They perhaps also wanted to emulate the lights of the TV cameras.
  13. Alexandros Angelopoulos Apostolos
    A tiny little Cumulus humilis. :D
  14. Alexandros Angelopoulos Apostolos
    Got it. :) Poor grip guy, carrying that thing around, and not slowly: It’s funny how you find what you were looking for. Eventually. I’ve always wanted to know how this scene was lit. I imagined a lot of diffusion frames flying around.
  15. Alexandros Angelopoulos Apostolos
    By the way, prompted by something Vittorio Storaro said about the diameter of cables in the U.S., I wanted to ask this: if America ever decided to switch from 110 V – 120 V to 220 V – 240 V, would that be a big step in a positive direction? Would the cables really be thinner, and is that the only thing that’d change? This’ll probably never happen, since, I think, it would cost a whole lot.
  16. Alexandros Angelopoulos Apostolos
    Yippie. Thanks. I hoped you would jump in. In part because I wanted to ask you this: Do you perhaps have the issue of American Cinematographer from May 2014? It’s the issue where the film’s cinematography is discussed at length, as mentioned above. What I’d like to know is the following: On page 61, in the topmost photo, where the nun is holding one of the two yellow candles, there is a whole lot of stuff going on in front of and behind her. Is that diffusion frame on the left what is called a butterfly silk? What is that net behind her? Another Egg Erate? That tiny HMI, or whatever it is, in front of that frame behind the nun is pointing towards one half of a flag – is that why it is white in the picture? I.e. there exists no flag with one half of it black and the other white?
  17. Alexandros Angelopoulos Apostolos
    You two, David and Satsuki, are tireless. I was just about to ask Satsuki what is he doing up at 4 a.m. answering question when he mentioned it in another thread. One cannot thank you enough. I’m glad that sometimes someone else jumps in, such as Brian Drysdale above or Freya Black in that discussion about the Sony F65.
  18. Alexandros Angelopoulos Apostolos
    What is the name of the diffusion frame covering what I think is an Octodome?
  19. Alexandros Angelopoulos Apostolos
  20. Alexandros Angelopoulos Apostolos
    It is very reminiscent of Magic in the Moonlight, in my view. With bits of Irrational Man thrown in. There are those yellowish green tones, most notably in Sun-soaked grass. And then there’s this sort of peachiness or strawberry blondeness or whatever thrown in, which at times seems equally yellowish green. I can’t really define it well. The skies sometimes look gold, but it’s as if sometimes there’s a bit of this peachiness or strawberry tones pumped in. The soil and sand look a tiny bit purplish-brown… I don’t know how to put it. Strawberry gold together with yellowish green is sometimes seen in shots like this, too: http://static1.squarespace.com/static/53323bb4e4b0cebc6a28ffa2/t/5702884259827e84008e40fe/1459783758055/ I think the influence of Storaro’s work on Apocalypse Now is evident.
  21. Alexandros Angelopoulos Apostolos
    Haven’t seen this one yet, but I did see the 2013 one. Loved that silhouette shot in the desert around 01:05! The fire (around 01:24) did look a bit too artificial, too sharp, for lack of a better word. Sorry. Another gorgeous shot is the one in the stables, around 01:45. Since I’ve been thinking to do a thread regarding planning this kind of thing, I was wondering how did you guys know when the Sun will be in this precise position? What I’m aiming at is did you use some kind of ephemeris or app.
  22. Alexandros Angelopoulos Apostolos
    I forgot to mention that you even know the wattage of the fixtures. :D
  23. Alexandros Angelopoulos Apostolos
    Crucial piece of information (for me). Must remember that. As usual, I only now realize that there are five sheets, that I’ve missed the one between (our) leftmost and the one set highest. Then the one covering the light in the corner is actually the fifth. But nevermind, you got it. One more thing, and I realize that this might be a bigger discussion, but how far in advance does the cinematographer and his department know how much equipment they’ll need? It depends? Because I’ve just read that, for example, Amour was all storyboarded in advance and in detail so Darius Khondji, his gaffer, Thierry Baucheron, and his key grip, Cyril Kuhnholtz, knew almost everything quite early on. But that’s most likely an exception. Or do you just order one of these grip trucks (I just saw that such packages existed), and you’re set?
  24. Alexandros Angelopoulos Apostolos
    P. S. 12 points for you, Satsuki, for even knowing the dimensions! I get it that they’re standard, but it’s just phenomenal that you just drop these around so easily. :D
  25. Alexandros Angelopoulos Apostolos
    That’s great, guys! Thank you so much. :) Now I know what to ask about regarding The Lost City of Z (found some behind-the-scenes photos). But, I mean, this is so “hilarious” and frustrating, because, OK, I get it that I would probably know to cut that light spilling through the windows (if I were a cinematographer), but what about that parcan?! I mean, at this point, I just can’t imagine having an idea that I’d need one of those to do what it does here. I cut off the window, but I add a bit of what that cut-off light would do with artificial light. It’s just... insane. :D Confusing! :D
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