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Found 7 results

  1. Hi everyone! My name is Michael Lau, and I work for Sepia Films, an independent film production company based in Vancouver and LA. As big fans of this community, we are so excited to tell you about our documentary KEEPERS OF THE MAGIC, which spotlights cinematographers such as Roger Deakins, John Seale, Gordon Willis, Vittorio Storaro, Bruno Delbonnel, and Philippe Rousselot. It is being released across the US on August 7th through VOD (US Satellite/Cable), IVoD (iTunes, Google Play, etc.) and Home Video (Amazon). KoTM is both an homage to the great films of our time and a personal exploration of the artists that created them. It features candid interviews and intimate insights into the work of these legendary cinematographers amongst others (including Directors George Miller and Sam Mendes) as they discuss their careers and most memorable movie moments. The film is the passion project of Vic Sarin, an eminent DP/Director in his own right, who wanted to celebrate the masters of this largely unsung art form. You can find more information here: https://www.imdb.com...2/?ref_=nv_sr_1 And a link to the trailer here: . Our goal is to give cinematographers the recognition that they seldom receive; but to do so, we need to reach as many people as possible. Please don't hesitate to ask any questions! Michael
  2. Hi Everyone, I love collecting behind the scenes photos where you can see lighting setups from great cinematographers. Does anyone have any they'd like to share? These ASC articles on Se7en and Carol both contain a lot of great bts photos of Darius Khonji's and Ed Lachman's work: https://ascmag.com/articles/flashback-seven-1995 https://theasc.com/ac_magazine/December2015/Carol/page3.html# All the best, Alex
  3. I just finished watching Manhattan again. Once again floored by Gordon Willis' photography, does anyone know what lenses he used for the exterior shots with only ambient light? There are quit a few...not just the famous one by the bridge. Even better would be any articles I might be able to get my hands on. Thanks!
  4. I just watched this for the first time a few weeks ago. I had no idea Gordon Willis shot it until I saw the opening shot of the judges. That looked like his kind of trailblazing and the credits confirmed it a few moments later. Anyone know how he shot that scene (or where I can get some info on it?)
  5. Magazine's October Edition Includes 46-Page Tribute to the Legendary Artist LOS ANGELES - The prolific career and life of the legendary Gordon Willis, ASC will be the focus of American Cinematographer magazine's October issue, which will include never-before-published excerpts from a conceptual memo on The Godfather, a pictorial spread featuring rare behind-the-scenes photos with Willis' own comments, and personal memories from his collaborators and peers. This is only the second time in the magazine's history that an issue has been dedicated to a sole ASC member. Previously, the May 2003 issue was devoted to Conrad L. Hall. "Gordon Willis had a tremendous impact on the art form, and we wanted to honor and acknowledge his contributions in a meaningful way," said American Cinematographer Editor-in-Chief and Publisher Stephen Pizzello, author of the forthcoming book Gordon Willis on Cinematography. "If there were a Mount Rushmore for cinematographers, Gordon's features would surely be chiseled into the rock face." Willis, who passed away in May, was awarded an honorary Oscar® in 2009 for his lifetime of achievements in cinematography. He was also nominated for Academy Awards® for his work on Zelig and The Godfather: Part III. In addition to the Godfather trilogy, his credits include such memorable films as Klute, The Paper Chase, The Parallax View, The Drowning Pool, All the President's Men, Annie Hall, Manhattan, Stardust Memories, Pennies from Heaven, Broadway Danny Rose, Presumed Innocent, and Malice. The ASC honored Willis with its Lifetime Achievement Award in 1995. The commemorative issue includes interviews with prominent directors, actors, crewmembers and admirers who worked with Willis during his career, including Francis Ford Coppola, Woody Allen, Steven Soderbergh, Robert Redford, Dustin Hoffman, James Caan, Jane Fonda, and ASC members Owen Roizman, Michael Chapman, Caleb Deschanel and John Bailey, among others. In addition to the anecdotes and insights from Willis' peers, the magazine will feature unforgettable images from Willis' films, a Q&A chapter titled "Supervising a Set" from Pizzello's book, and personal essays by ASC President Richard Crudo and writer Jon Boorstin, associate producer of All the President's Men and director's assistant on The Parallax View. "Since Gordon Willis was one of the greatest cinematographers who ever lived, this issue promises to be a once-in-a-lifetime collector's piece," notes ASC President Richard Crudo. "Anyone with an interest in his work will certainly want to keep it for future reference as well as for its fascinating insights to what he was like as a man." The October issue of American Cinematographer is available to purchase online now in the American Cinematographer Store or on newsstands in late September. For more information on American Cinematographer, visit the magazine's website, or follow the publication on Facebook and Twitter (@AmericanCine).
  6. I was wondering what you think contributes to making a cinematographer better than average, and even truly great. In terms of not only the success of his career, but also his craft, self discipline and general habits we might learn from. Roger Deakins, Emmanuel Lubezki, Gordon Willis come to mind, but also anyone you personally admire who might not be as well known. Share your thoughts, and also feel free to post about any time you met a cinematographer who you feel is a role model to you, and what kind of impression they made.
  7. Hi everyone, I have always loved the 1979 movie Manhattan by Woody Allen for it's cinematic look and amazingly beautiful black and white and underexposed scenes (thanks to Gordon Willis) and of course for the compelling story and acting. I'm trying to learn more about lighting at the moment and It would be great to get some input on how they lit this particular scene. The scene I'm thinking of is the one where's he is on his sofa talking into the tape recorder.
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