Check out this interview I did for Filmmaker Magazine with Emmy-nominated Gotham cinematographer Crescenzo Notarile ahead of tonight’s Season 3 premiere on Fox. Notarile talks about Gotham’s signature style, the challenges of hiding lights from the show’s wide-angle lenses, and what he learned from working on Sergio Leone’s Once Upon a Time in America.
Here’s Notarile on Once Upon a Time in America cinematographer Tonino Delli Colli.
A collection of set stills from Martin Scorsese’s Oscar-winner The Departed (2006). These are just a few pics featured in a collection posted on the Facebook page of American Cinematographer Magazine. All the images were snapped by unit photographer Andrew Cooper. The suspender-sporting gray haired gentlemen in the pics is cinematographer Michael Ballhaus, who collaborated with Scorsese on After Hours, The Color of Money, The Last Temptation of Christ, Goodfellas, The Age of Innocence, and Gangs of New York.
(Above) Some wind sound effects go a long way in Ken Kwapis’ A Walk in the Woods (2015), helping transform a sunny spring day into a frigid wintry dusk.
For more in our Shot Behind the Shot series, click here.
(Above) French-language poster for Fred Zinnemann’s 1953 Best Picture winner From Here to Eternity, an advert immortalizing Burt Lancaster and Deborah Kerr’s adulterous oceanside kiss. The film is based on the 1951 debut novel of James Jones, which features some autobiographical elements from Jones’ time stationed in Hawaii on the eve of World War II.
Here’s Zinnemann on concessions made to the Army in order to receive its cooperation in making the film. From the book Fred Zinnemann: Interviews:
Certain things the Army objected to, particularly two things. One, the inside of the stockade. The book contained many scenes showing the rough life inside the stockade. The Army said that if that was shown, there would be no cooperation. The second point was the character of the captain, Deborah Kerr’s husband, who was ineffectual and a bad officer. The Army wanted to see the man get his comeuppance and be courtmartialed and forced to resign. In the book he was promoted to major.
Now the whole point then became: is it worth making that sort of arrangement? I felt that it was. As it turned out, I was sure that it was not necessary to go into gruesome details about the inside of the stockade, because one could see in the escape and the death of Sinatra sufficient proof for what was going on inside and leave room for the audience’s imagination.
I personally would’ve liked to see the captain being promoted, because it was a fine sardonic touch. But it was a sacrifice that had to be made.
(Above) On the set of Tim Burton’s Edward Scissorhands (1990). Here’s Burton on his view of the monster as hero, from a 1992 Rolling Stone interview.
Q: Did you identify with the monster (growing up)?
A: Completely! Every kid does. They were always taking the monster and kind of prodding him and poking him, especially the (movies) of the Fifties. The way those movies were structured, the heroes were always these bland actors with no emotion. They were the suburbanites to me.
For more set pics from Burton’s career, check out this gallery spanning all 17 of the director’s features.
(Above) The contraption used to puppet the titular tragic figure in David Cronenberg’s 1986 remake of The Fly. This comes from a detailed history of the film’s effects on the site Monster Legacy, culled together for the movie’s 30th anniversary.
The Belgian release poster for Mike Nichols’ The Graduate (1967). Despite playing one of cinema’s most iconic May-December dalliances, Dustin Hoffman and Anne Bancroft were actually only six years apart in age.
Check out more pics of the day here.
From my Filmmaker Magazine column, a talk with Green Room cinematographer Sean Porter. Here’s a sample:
