Filmmaker https://nitter.cf/t.co/Q17cRrd1Dl
London, England
Joined February 2013
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My latest video:
A 29 minute look at the great visuals of Top Gun (1986), from the cinematography to how they filmed those planes & the VFX. It also looks at the style of the early films and scripted work of director Tony Scott. #TopGun @RidleyScottCG
youtube.com/watch?v=L9QrzsJw…
Tim Partridge retweeted
New video essay from ME...Cytonius.
youtu.be/662qQp_kG9k?is=UO9E…
The gold standard for opening narration:
youtube.com/watch?v=HnDtvZXY…
Kyle Maclachlan has said that during the filming of Dune in Mexico City, he spent a lot of time hanging out with Everett McGill & Patrick Stewart. I am so used to seeing Stewart play older figures of authority (even when he was young), the below photo seems surreal but cool. RIP
youtube.com/watch?v=MAV4nDKZ…
The music score on this trailer is perfect. It aids the comedy but is also genuinely uplifting. You can't help but be invested in Cunk's cinematic journey into... Cinema.
RIP Director Peter Medak.
The tone of the end funeral scene from The Krays made a huge impression on me. Billie Whitelaw's amazing performance set to a really well blocked steadicam shot with poetic intercutting. It's equally tasteful, gentle & sad yet unsettling, all at once.
Tim Partridge retweeted
David Watkin BSC was once asked for a motto about cinematography.
His answer:
“One tries not to fuck it up.”
This from the man who bounced enormous arc lights, projected searchlights through stained glass and helped create the extraordinary world of THE DEVILS.
Possibly the most David Watkin answer imaginable.
Tim Partridge retweeted
History in the making. A collection of moments on the set of KEN RUSSELL’S THE DEVILS.
In theaters now: thedevils.movie
The fireball behind Neeson:
He's in front of a bluescreen & the composited background is a carnival, but one frame has been copied & pasted onto board, which has then been cut up into pieces & detonated. It's then been edited into the sequence.
How does Sam Raimi think this up?
Tim Partridge retweeted
Mario plays a saxophone made of PVC pipe in a potential Mario movie '93 deleted scene:
Tim Partridge retweeted
The contradiction goes further: Watkin wanted light to feel natural and uncomplicated; Russell wanted excess, provocation and monumental staging.
Somehow the two approaches reinforce each other.
One of Watkin’s most astonishing films.
My full cinematography analysis:
ignacioaguilardop.com/the-de…
Tim Partridge retweeted
David Watkin hated anamorphic lenses. Some of his greatest cinematography was shot with them.
FAVORITE CINEMATOGRAPHY #10 — THE DEVILS
Watkin regarded anamorphic as an “optical catastrophe” — yet here his huge bounced arc sources, diffusion and deliberate overexposure give Ken Russell’s widescreen images extraordinary scale and texture.
Tim Partridge retweeted
One of the most natural-looking period films ever made required some of the most extreme photographic engineering ever used on a feature.
FAVORITE CINEMATOGRAPHY #8 — BARRY LYNDON
Tim Partridge retweeted
NEW VIDEO - My thoughts on the new Street Fighter movie! youtu.be/HXFPIZWOoXk
There's a lot of clever use of vertical texture in this film, to separate the characters from the background in deep focus black and white. it also marries thematically with what the film is about.
One of the deepest-looking widescreen films of the 1960s was shot with some of the longest lenses.
In HIGH AND LOW, Kurosawa often used 100mm, 200mm — perhaps even 300mm+ anamorphic lenses — yet still demanded wide compositions and substantial depth of field.
Telephoto compression. Deep focus. Total control of the frame.
