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Chris Montte

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Not just the clouds but the arrangement of elements from the church on the right, the gate on the left, the car framed inside the gate, etc.

 

Yes I keep imagining at a kind of V but that's just in my head probably, but I like that aspect. Really like the deep depth of field in the shot even more however. The church seems really significant in the picture as opposed to just some building in the distance.

 

Those clouds are really special tho. I think the reason people might notice the discontinuity in the clouds is because you actually notice the clouds and are like wow! Most times you don't even notice the clouds at all. I mean theres vapour trails from aircraft in the clouds in Sophia's Marie Antoinette. I'm sure they would have been removed if anyone noticed!

 

love

 

Freya

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Yes I keep imagining at a kind of V but that's just in my head probably, but I like that aspect. Really like the deep depth of field in the shot even more however. The church seems really significant in the picture as opposed to just some building in the distance.

 

I also like knowing that they built that church in 1/4 scale or something like that, just for this shot -- that's the sort of production design magic I love.

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I don't have it handy, but I really like some of the very bare, very minimal, very white laugh.gif frames in Fargo.

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This single shot from the Japanese movie Sansho The Bailiff has always stuck with me and might be my favorite. Like many great shots, it's not only perfectly composed, but when viewed in the context of the story, it really hits like a ton of bricks.

 

sansho-a.jpg

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I don't have great frame grabs, but the opening sequence of "Excalibur" is a personal favorite, particularly because of the use of Wagner as the score throughout:

 

excalibur9.jpg

 

excalibur10.jpg

 

excalibur11.jpg

 

excalibur12.jpg

 

excalibur13.jpg

 

excalibur14.jpg

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I've always loved the lighting of the projection room scene early on in "Citizen Kane":

 

citizenkane2.jpg

 

citizenkane3.jpg

 

It was shot before production began, labeled as a "camera test" by Toland and Welles.

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