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Found 6 results

  1. Here is the first look at the second collaboration between Woody Allen and Vittorio Storaro: It was posted yesterday. The film will premiere on 14 October 2017 at the New York Film Festival and will be available on 1 December in select theatres. IndieWire has all the best shots and The Woody Allen Pages has a shot-by-shot breakdown. It looks very candy-coloured, doesn't it? And not much unlike the last film even though the time periods are different. In fact, it seems like a continuation or a variation on a theme. People are already declaring it visually stunning and saying no wonder, since it's Storaro.
  2. Have you read that Vittorio Storaro is the next cinematographer to work with Woody Allen? One Web site says "reportedly": http://blogs.indiewire.com/theplaylist/legendary-cinematographer-vittorio-storaro-reportedly-lensing-woody-allens-2016-film-will-be-set-in-1930s-20150807 the other one seems sure that it is the case: http://www.woodyallenpages.com/2015/07/legendary-cinematographer-vittorio-storaro-joins-woody-allens-2016-film/ As always with Woody Allen's films, and many others, little is known about the film. It seems it will be set in the 1930s.
  3. Wait! Don’t roll your eyes just yet! I know that many of you will think: “Oh, no! Not another Woody Allen thread! For God’s sake!” But this is not about Woody Allen; it is much more about Eigil Bryld (just in case you didn’t know, it seems that, as per the IPA notation on Wikipedia article, his name is pronounced, approximately, EYE-ghill BRILL) and how this will all turn out visually. And, it seems from the photos, it will look great! Many articles in the last few days state that these are the first photos http://deadline.com/2016/08/crisis-in-six-scenes-photos-woody-allen-miley-cyrus-elaine-may-amazon-1201810941/ but these were released a bit before http://www.woodyallenpages.com/2016/08/crisis-six-scenes-first-images-features-woody-allen-miley-cyrus-elaine-may/ It looks stunning. Or perhaps that’s just my impression because I wasn’t expecting anything special visually, thinking that this was just a short mini-series with perhaps not lot of a budget. (Though, yeah, money doesn’t always equal stunning visuals.) Here is the trailer: From the House of Cards – cold, dark, bleak – to a total opposite (yes, I realize that is a pleonasm) for Eigil. IMDb isn’t showing how this was shot: http://www.imdb.com/title/tt4354616/ I’m hoping for a brief write-up in the American Cinematographer. :) P. S. By the way, have you seen it? Lo and behold, the colourist is Joe Gawler, of Midnight in Paris and To Rome with Love fame.
  4. Storaro is back. And so is the Sony F65. http://www.hollywoodreporter.com/behind-screen/cinematographer-vittorio-storaro-filming-cafe-911441
  5. What are Woody Allen’s films known for when it comes to their cinematography? I see that he himself and David Mullen talked about his love for warm colours. Has he ever talked about why he worked with so many famous cinematographers and why he chose each one for the particular film they worked together on? I’m especially intrigued by these one-time cinematographers and how he found them, such as Wedigo von Schultzendorff, whose work on Hollywood Ending I loved, or why only now Vittorio Storaro. What’s Up, Tiger Lily? Kazuo Yamada Take the Money and Run Lester Shorr Bananas Andrew M. Costikyan Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) David M. Walsh Sleeper David M. Walsh Love and Death Ghislain Cloquet Annie Hall Gordon Willis Interiors Gordon Willis Manhattan Gordon Willis Stardust Memories Gordon Willis A Midsummer Night’s Sex Comedy Gordon Willis Zelig Gordon Willis Broadway Danny Rose Gordon Willis The Purple Rose of Cairo Gordon Willis Hannah and Her Sisters Carlo Di Palma Radio Days Carlo Di Palma September Carlo Di Palma Another Woman Sven Nykvist New York Stories (segment “Oedipus Wrecks”) Sven Nykvist Crimes and Misdemeanors Sven Nykvist Alice Carlo Di Palma Shadows and Fog Carlo Di Palma Husbands and Wives Carlo Di Palma Manhattan Murder Mystery Carlo Di Palma Bullets over Broadway Carlo Di Palma Don’t Drink the Water Carlo Di Palma Mighty Aphrodite Carlo Di Palma Everyone Says I Love You Carlo Di Palma Deconstructing Harry Carlo Di Palma Celebrity Sven Nykvist Sweet and Lowdown Zhao Fei Small Time Crooks Zhao Fei The Curse of the Jade Scorpion Zhao Fei Hollywood Ending Wedigo von Schultzendorff Anything Else Darius Khondji Melinda and Melinda Vilmos Zsigmond Match Point Remi Adefarasin Scoop Remi Adefarasin Cassandra’s Dream Vilmos Zsigmond Vicky Cristina Barcelona Javier Aguirresarobe Whatever Works Harris Savides You Will Meet a Tall Dark Stranger Vilmos Zsigmond Midnight in Paris Darius Khondji To Rome with Love Darius Khondji Blue Jasmine Javier Aguirresarobe Magic in the Moonlight Darius Khondji Irrational Man Darius Khondji Unititled Woody Allen film (2016) Vittorio Storaro This is how it looks when it comes to number of films per cinematographer: Carlo Di Palma: 12 Gordon Willis: 8 Darius Khondji: 5 Sven Nykvist: 4 Zhao Fei: 3 Vilmos Zsigmond: 3 David M. Walsh: 2 Javier Aguirresarobe: 2 Remi Adefarasin: 2 Kazuo Yamada: 1 Lester Shorr: 1 Andrew M. Costikyan: 1 Ghislain Cloquet: 1 Wedigo von Schultzendorff: 1 Harris Savides: 1 Vittorio Storaro: 1
  6. 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!
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