Director J.A. Bayona (The Impossible, A Monster Calls) aims an Alexa 65 into the chompers of a practical dinosaur on the set of Jurassic World: Fallen Kingdom.
Behind the scenes of the HBO retelling of Ray Bradbury’s classic sci-fi cautionary tale Fahrenheit 451. Shot by cinematographer Kramer Morganthau on Panasonic’s 4K VariCam 35 with Panavision Super Speed and Ultra Speed legacy primes. The lighting units you see on frame right – both sitting on the ground and perched on the stand – are Arri SkyPanels.
The set pic on the left comes from American Cinematographer magazine’s feature on the film from the June issue, which you can read here.
Chazz Palminteri prepares to drag a camera operator across a bar room floor on a sound blanket in order to get a POV shot of Palminteri’s gangster character yanking a biker out of his bar in 1993’s A Bronx Tale. I first saw this one when I rented it from Video Village on VHS when I was 16. It’s still my favorite movie.
Here’s the full bikers vs. gangsters melee from the film.
Various artwork for Francois Truffaut’s directorial debut, 1959’s semi-autobiographical The 400 Blows. Love the English-language poster, which makes the film look like a Blackboard Jungle-esque juvenile delinquent B-movie.
Cinematographer Bradford Young (Arrival, Selma, A Most Violent Year) frames up a handheld shot of Chewbacca on the set of Solo: A Star Wars Story. That’s actor Warwick Davis behind Chewie. Davis first appeared as the Ewok Wicket in Return of the Jedi and has since played various roles in The Phantom Menace, The Force Awakens, Rogue One, and The Last Jedi.
(Above) The cover to a Psycho (1960) pressbook supplement titled “The Care and Handling of Psycho,” which emphasizes the William Castle-esque gimmick that no one – “not even the manager’s brother” – will be allowed into a screening after the film has begun.