Check out my talk with Wonder Woman cinematographer Matthew Jensen for Filmmaker Magazine. Here are a few quotes from the piece:
In commemoration of the 40th anniversary of the original Star Wars’s theatrical release, here’s a look back at the space saga’s history through its posters. Also check out this interesting read from Film School Rejects’s William Dass detailing the stories behind some of these iconic pieces of movie art. Continue Reading ›
(Above) A monkey-masked John Landis guides the action on the set of his directorial debut Schlock (1973). Landis, who also wrote the script and played the simian lead, was only 21-years-old at the time the monster movie spoof was shot in 1971. Makeup effects master Rick Baker, seen standing to the left of Landis, was only 20. Baker had the budget for just one ape suit, part of which was constructed by gluing hair and a rubber chest piece onto a pair of long johns worn by Landis.
Here’s Baker’s recollection of Schlock, from Anthony Timpone’s book Men, Makeup & Monsters: Hollywood’s Masters of Illusion and FX.
“We shot in Agoura during a heat wave, like a hundred and twenty degrees. And John was sweating like mad – the hair was dripping wet and just kept falling off. We lost about half the hair on the first day! And it took a while to lay all that hair on there. So we started taking the suit off him between takes if we could, and fortunately it cooled down some. It was an experience.” – Rick Baker
The Averardo Ciriello-painted Italian advert for 1971’s Trafic, which marked the cinematic adieu of writer/director/star Jacques Tati’s Monsieur Hulot character. Though his career spanned four decades, Tati directed only six feature films – all of which you can find in a single Criterion Collection box set.
Poster via Heritage Auctions.
Orson Welles and cinematographer Russell Metty on the set of Touch of Evil (1958) – the first film Welles had directed in the United States in nearly a decade following 1948’s Macbeth. An Oscar winner for lensing Kubrick’s Spartacus, Metty also shot Bringing Up Baby for Howard Hawks, The Misfits for John Huston, and Magnificent Obsession, All That Heaven Allows, and Written on The Wind for Douglas Sirk.
Above – Werner Herzog’s cameraman on Stroszek (1977) serves as a human car mount. Looks like a string of sash is serving as his safety line, but it’s wrapped around the headlight so I’m sure he’s good.
Pic via the blog Kino Images.