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Films Exclusively Shot on Wide Angle Lenses?

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Was trying to assemble a list so I wouldn't feel bad about only having wide primes. As well as seeing how a crew far better funded than me utilized them.

 

I heard Harry Potter and the Prisoner of Azkaban did it, but there has to be a hundred others?

 

Thanks in advance for some of your favorites exclusively shot 35mm or wider.

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Call Me By Your Name was shot entirely on a 35mm Cooke S4.

 

The Witch was nearly all on a 32mm Cooke Speed Panchro.

 

Many Jean-Pierre Jeunet films used only wide angle lenses - Delicatessen is almost entirely a 25mm Cooke Speed Panchro with a 32mm as their only long (!) lens, City of Lost Children was mainly 14, 18 and 25mm, Amelie is mainly 21-27mm, A Very Long Engagement used 14-27mm, etc.

 

Khondji went on to shoot Fincher's Seven with mainly a 27mm Primo, and their subsequent collaboration on Alien Resurrection was also shot pretty wide.

 

Polanski only used 18 and 25mm lenses for Rosemary's Baby, and 25 and 32mm for The Ninth Gate (Khondji again). Probably others.

 

Welles used an 18.5mm Angenieux for almost all of A Touch of Evil and Don Quixote.

 

I imagine some of Wes Anderson's films are mainly shot with wide angle lenses (an anamorphic 40mm often gets mentioned), but I don't have any specific info on focal lengths.

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Call Me By Your Name was shot entirely on a 35mm Cooke S4.

Love tidbits like this. I shot entirely on a 35 prime from 2014-2016

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Call Me By Your Name was shot entirely on a 35mm Cooke S4.

 

The Witch was nearly all on a 32mm Cooke Speed Panchro.

 

Many Jean-Pierre Jeunet films used only wide angle lenses - Delicatessen is almost entirely a 25mm Cooke Speed Panchro with a 32mm as their only long (!) lens, City of Lost Children was mainly 14, 18 and 25mm, Amelie is mainly 21-27mm, A Very Long Engagement used 14-27mm, etc.

 

Khondji went on to shoot Fincher's Seven with mainly a 27mm Primo, and their subsequent collaboration on Alien Resurrection was also shot pretty wide.

 

Polanski only used 18 and 25mm lenses for Rosemary's Baby, and 25 and 32mm for The Ninth Gate (Khondji again). Probably others.

 

Welles used an 18.5mm Angenieux for almost all of A Touch of Evil and Don Quixote.

 

I imagine some of Wes Anderson's films are mainly shot with wide angle lenses (an anamorphic 40mm often gets mentioned), but I don't have any specific info on focal lengths.

 

 

I think Wes Anderson's "Bottle Rocket" was mostly shot on a 27mm Primo.

 

There is also Terry Gilliam, who shoots with very wide-angle lenses such as in "Fear and Loathing in Las Vegas" (12mm, 14mm, 16mm, etc.)

 

And don't forget the recent work by Emmanuel Lubezki such as "Birdman" and "The Revenant", plus the Terrance Malick movies, a lot of shots made on an 18mm or 21mm Master Prime.

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I believe Children of Men used mostly 18mm; and Aliens 3 used mostly 14mm. On The Conjuring 2 DP John Leonetti ASC said he used mostly wide angle lenses and in some shots went as wide as a 10mm.

Edited by Reggie A Brown

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I believe Children of Men used mostly 18mm; and Aliens 3 used mostly 14mm. *Correction* On The Conjuring (not the conjuring 2) DP John Leonetti ASC said he used mostly wide angle lenses and in some shots went as wide as a 10mm.

Edited by Reggie A Brown

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Son Of Saul was shot on a 40mm and a 35mm Master Prime.

 

 

Rossetta was shot on a wide lens but on Super 16mm.

 

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The Thin Red Line (Terrence Malick's 1998 version) used wide angle lenses (or perhaps just one WA lens) extensively throughout the film.

Edited by Patrick Cooper

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