Deep Fried Interview: God Help the Girl and Young Ones cinematographer Giles Nuttgens

128. copy59. frame in music video copy

It’s hard to imagine two more disparate films than God Help the Girl and Young Ones. The former – shot in Glasgow on 16mm – is anarchic, whimsical and vibrantly colored, echoing the spirit of the French New Wave. The latter – lensed on anamorphic 35mm during a smoldering South African summer – is formalist, brooding and nearly monochromatic, recalling both the vistas of the American Western and the hard-scrabble Dustbowl sagas of John Steinbeck.

Yet for cinematographer Giles Nuttgens, the projects held a common thread. Continue Reading ›

Deep Fried Interview: In a World cinematographer Seamus Tierney

In a World poster

Though her resume includes everything from the comedic absurdity of Childrens Hospital to the horror film Black Rock, to moviegoers with a more mainstream studio palette actress Lake Bell is most recognizable as the rom-com best friend or comedic sidekick, doing thankless wing-woman duty in movies like What Happens in Vegas. Bell breaks out of that niche in a significant way with In a World, her feature directorial debut. Continue Reading ›

Behind the Scenes: Ben-Hur (1959)

Ben-Hur #8 (Wyler) (#29)

Ben-Hur was photographed using MGM’s 65mm anamorphic widescreen format, Camera 65.

At the time of its release in 1959, MGMS’s lavish quasi-biblical spectacle Ben-Hur was the most expensive film ever made, with a budget of nearly $16 million. The famed chariot race alone required an 18 acre set at Rome’s Cinecitta Studios, a five week shooting schedule and 7,000 extras. (continue for more behind the scenes pics) Continue Reading ›