From happy accidents on set to visual effects completing a nighttime shot during the day, cinematographers from “Elvis” to “Nope” to “The Fabelmans” composited s…
From happy accidents on set to visual effects completing a nighttime shot during the day, cinematographers from “As voters sit down over the holiday season to revisit films or catch up,caught up with nine cinematographers behind films vying for awards consideration to tell us the story behind their favorite shots.The first is a shot of Stanislaus Katczinsky by the farmer’s gate waiting for Paul to come back with his loot.
The scene shows this couple going through, being questioned by the journalists and then they go into this room. It’s this beautiful monster where Silverio is getting swallowed colors and lights. We knew this was one of the scenes Baz called ‘trainspotting’ which meant there was existing footage of this performance that we had to match perfectly. Right down to the camera angles and lensing.
My team had to learn the music and the choreography of Austin to perfection. We danced with him and he felt comfortable enough that we knew his moves that he didn’t have to be concerned with cranes hitting him, or Steadicam bumping him in his moves. And there are other instances when he’s watching another movie and the light portrays him in this, I wouldn’t say evil, but sinister, way because it’s got that shadowy light projected through the reel, and you have that moving movement of the light in his face and then you have another beam of light projecting towards the lens. He’s realizing that he can manipulate the masses, and you see his entire expression change.
This was the proverbial umbilical cord. As bill emerges from the dark he is washed with red bloody light, as if newly born. The rich contrast between light and dark represents the paradox of realizing life only once faced with death.“Nope” cinematographer Hoyte Van Hoytema loved the closeups of Keke Palmer as Emerald Haywood.This film is very much about spectacle and most of those scenes get the attention.
I also love the closeup of Kiki at the end of the film, and I love the scene when she gathers the family, and it’s those scenes that capture what the film is about. When we finally achieved the shot, I yelled out loud. It is this moment of bitter-sweet relief that everybody knows who has embarked on the journey of making a film. Todd joined in.“Top Gun: Maverick” – Claudio MirandaI used to be a gaffer for Tony Scott, and I did three films with him, so the whole movie was special to me.
I’m biasing things to the amount that went into the effort and payoff as a story point. When Maverick’s banking left or right, you see the shadows and how close he is to the ground because you see the shadows.
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