Ahh, yes! I’ve been trying to find this video online for years. For anyone interested in Kieslowski, this is the consummate interview with him. It best encapsulates who he was, and why he made the movies he did. Along with the interview, there’s some terrific behind-the-scenes material from The Double Life of Véronique. The dvd version of this is in the disc-2 supplements of Criterion’s release of the film.
PART 2/2 — (Both clips available in 1080p)
I just stumbled upon this short gem of a documentary on Sven Nykvist. I had no idea this existed (apparently it was part of an MGM Bergman box-set that came out about six years ago). Sven Nykvist — my hero.
If you’re interested in the master cinematographer, and his work with Ingmar Bergman among many other luminaries, check out the wonderful documentary Light Keeps Me Company (Ljuset håller mig sällskap). It was directed by his son Carl-Gustav Nykvist about ten years ago — when the famed lenser was forced to retire from shooting after being diagnosed with Aphasia (he passed away in 2006). You can see a brief five-minute excerpt here.
Those familiar with cinematography and filmmaking will likely recognize the name of Harris Savides — one of the vanguard lensers working today; and he’s certainly one of my favorites. He’s had an official website for a couple of years now — apparently — but it’s seemed to be nothing but a placeholder in all that time. I keep it linked here at the blog in hopes that he’ll make it fully active in due course.
Anyways, I was looking for Savides interviews, and found this excellent conversation with him from about three months ago: That ’70s Look: The throwback naturalism of cinematographer Harris Savides ~ Moving Image Source, March 26, 2010 by, David Schwartz
For those interested, there’s another interview, and entire chapter, dedicated to Savides in New Cinematographers — one of the most cherished volumes in my personal library.
New Cinematographers by, Alex Ballinger at the ASC Store.
I go through extended periods of not being able to get this piece of music out of my mind — it’s probably my all-time favorite bit of film score. This is Howard Shore conducting a beautiful live performance of “Concerning Hobbits” from his Lord of the Rings magnum opus. I’m not sure when this live recording was made, or if it’s available on DVD. If I can find a link to the full performance, I’ll post it eventually. Evidently Shore does have ongoing concerts where he conducts the score to live projection (check out his official web site for details).
I couldn’t find the exact clip from Fellowship of the Ring that corresponds to the Shire/Concering Hobbits musical section of the film, but here’s an excellent montage from the extended edition of Fellowship of all things Hobbity: Lord of the Rings: The Fellowship of the Ring – Howard Shore – Concerning Hobbits (The Shire)
The upcoming release of Paris, Texas on Criterion got me to rummaging around the web for interviews with the film’s cinematographer, Robby Müller. He’s been a long time hero of mine; not only for the beautifully crafted images he’s helped bring to the screen with such diverse directors as Wim Wenders, Billy Friedkin, Jim Jarmusch and Lars von Trier; but in his eschewing of conventionally made Hollywood films (especially in recent years) in favor of working in the Independent Film realm. He discusses these Indie preferences in this excellent YouTube video I just unearthed. Most of the talk centers around working with Jarmusch on Down by Law — but he also talks extensively about his methods and philosophy of shooting. I love some of his critique about the Hollywood system of making films, as opposed to the independent route. I especially share his disdain for the Hollywood addiction to video assist, and monitors on-set in general…
I’m not sure, but I think these vids were taken from the extras on the Criterion Down by Law DVD (also, see parts two and three below). I additionally came across a nice clip of Müller being honored at the Nederlands Film Festival in March of 2009.
PART I
Nederlands Film Festival 2009 (partially in Dutch)
Robby Müller bio from Wim Wenders.com
2002 Interview with the British Film Institute
Interview with Netherlands Society of Cinematographers (translated to English)
Older Australian interview of Müller from ’93
Check out this great documentary on the making of Peter Jackson’s first feature-length film: Bad Taste (1987) — which was produced on a shoestring budget, with his friends on the weekends, over a period of four years. The interviews capture Jackson’s child-like love of the craft, and beautifully illustrate the fun and dedication to filmmaking that is particularly endemic to New Zealand:
Jackson is surely at the forefront of the explosive New Zealand film renaissance, but I’ve always felt his frequent collaborator and partner in Wellington’s Weta Workshop — Richard Taylor — epitomizes more than anyone the genius and passion of Kiwi filmmaking. Check out the interviews with him below — the top one is the most recent (focusing on the entrepreneurial nature of Taylor and Weta):
Scene by Scene – New Zealand (Weta Workshop)
An Introduction to “Bright Star”
I just watched Jane Campion’s masterpiece Bright Star for the second time last night, and regard it as one of those exceptional films that increase in majesty with repeat viewings. Like a Keat’s poem, it has such weight and subtlety, that it rewards a deeper look.
It’s a flawless work of art.
If you are interested in the visual approach to the film, American Cinematographer had an informative interview with cameraman Greig Fraser back in October ’09 (transcribed from the subscription-only American Cinematographer site).
Campion is a master visual storyteller, and combined with Fraser’s aesthetic, the collaboration has yielded a most sumptuous visual feast. On a basic technical level, the use of Cooke S4 lenses, shallow Depth-of-field and subtle overexposure in parts, lent the overall look of the film a very delicate, painterly and feminine quality — thoroughly appropriate to the poetic and romantic feel of the story. The Cooke S4 lenses have beautiful characteristics, by the way. They possess a very “soft,” some say “buttery,” look. They are very distinct from more contemporary Zeiss motion-picture lenses, which tend to be sharper and more contrasty — some would say more “clinical” or “precise.” A hard, pin-sharp, Zeiss look wouldn’t have felt quite as right for Bright Star’s visual palette. Ja? Yes…
Being an ardent cinéaste, I watch a lot of good films. But every so often one comes along I simply can’t get out of my head. That afterimage being the mark of true cinematic greatness — the ability to seize my thoughts with the richness of the story, and the reality of its characters, long after I’ve screened it. Of films released over the last five years or so, several that come to mind that had this effect on me have been Terrence Malick’s The New World (2005) and the Coen’s No Country for Old Men (2007). Add to that pantheon Götz Spielmann’s tremendous Revanche (2008).
I’m never good at synopsizing. I feel trying to recount the plot either spoils the experience or runs the danger of over-hyping the story to the point where it’s bound to thwart raised expectations. I’ll leave the actual reviewing to my betters. Check out Ebert’s typically elegant and insightful thoughts on the film. Armond White also pens an excellent introductory essay on Revanche that’s included in the supplemental materials of Criterion’s release of the film.
Back to the plot. Another reason I’m hesitant to summarize it, is because I almost feel it’s incidental in this case. Instead, it’s the genuine emotions; the gripping conflicts; the reality of the people in the story that makes this such a stunning cinema experience for me. Spielmann himself touches upon these issues of plot — what the film is about — in this interview at AFI Fest in 2008.
On a technical note, Spielmann makes this story come alive so masterfully with meticulousness and restraint. You won’t find the excessive cutting or camera acrobatics in Revanche that are present in so many other contemporary films. Every shot is carefully considered and crafted. The camera only moves when the story dictates it — no stylistic flourishes for their own sake. That, more than anything, is what makes this movie so hypnotically real.
I’m reposting this classic Mike Wallace dialogue with Rod Serling from circa ’59. Still one of my favorite interviews. A must-see for writers, or creative people of all stripes. The copyright enforcers seem to pull this video off YouTube frequently — we’ll see how long this one lasts… Thanks to user rolko52 for uploading it.
PART I
Arts and Faith has posted a stupendous list of its 100 top films where faith and art intersect.
Faith and art? Christian films? Aren’t those pedantic wastes of time that often have very little to do with art? The answers to those questions, the films on the list, and how the list was compiled may surprise you. Check out Jeffrey Overstreet’s excellent primer essay on the 100 films at the Image Journal.
So far the list has rich satellite links for the top ten titles; with more to be added later. Included are clips of each film. Below is a great scene from number two on the list (one of my favorites) — Kieslowski’s Dekalog.
This is an interesting piece, posted over at Playlist, regarding the use of the use of the Red Camera on Soderbergh’s Che.
I keep hearing that Criterion did a bang up job on this film. I’m keen to check it out.
Che and the Digital Cinema Revolution from high rez on Vimeo.
I’m just about finished reading Hunter S. Thompson’s classic Fear and Loathing in Las Vegas and Other American Stories. It’s become one of my all-time absolute fave reads — every page is a gem! Thompson’s inimitable prose is totally up my alley as far as wit and style. Gonzo indeed!
Also saw a great doc a couple weeks ago called Gonzo: The Life and Work of Dr. Hunter S. Thompson. It’s a quality chronicle of the late doctor of journalism. Interesting to see what a fascinating and complex guy he was — much more than the drug-addled wild man he’s often portrayed as in popular culture. Speaking of which, if you haven’t seen it, Terry Gilliam’s wonderfully bizarre film adaptation (on Criterion) of Fear and Loathing is well worth a look.
A version of this Criterion trailer was embedded in the link for the 2009 Blu-ray release of my favorite film: Wings of Desire (mentioned in a previous blog post). A YouTube user was kind enough to recently post a German version of this gorgeous looking trailer in HD.
I always thought the beautiful song “Forever Autumn” was a Moody Blues original. That is until hearing this superb Moodies live rendition, and Justin Hayward’s introductory comments to it, on LastFM.
Turns out this song was originally part of an amazing concept album from 1978 called “Jeff Wayne’s Musical Version of The War of the Worlds”. The lineup included session players and members of an interesting array of bands like the Moody Blues, Thin Lizzy and Manfred Mann. Richard Burton lends a haunting narration to the entire story.
In 2006 Wayne created a touring show of the album — revived for the 30th Anniversary in 2008 and on the road again through 2010-11. Check out Justin Hayward’s wonderful live rendition of Forever Autumn.
I'm a Cinematographer.
You can see a sampling what I've been looking at through the lens at my reel page and Flickr (be sure to also check out my favorites of other Flickr user's lenses -- an endless source of visual inspiration).
Email via mark-t-ingham.com.
"Whaia te iti kahurangi. Ki te tuohu koe, me he maunga teitei." ~ ("Pursue that which is precious. And do not be deterred by anything less than a lofty mountain.")
Shipped on 08/31/10.
This disc contains "The Winds Rise: Part One: Berlin, Germany."
Shipped on 08/31/10.
In this film based on the classic novel by H.G. Wells, a scientist (Rod Taylor) invents a time machine that allows him to explore the earth’s distant future — a place of idyllic beauty that also harbors a sinister evil. Co-starring Yvette Mimieux as a docile inhabitant of the future, this sci-fi classic won an Oscar for its trippy special effects that were hands-down ahead of their time. Beware the Morlocks!
Shipped on 08/25/10.
After killing an innocent boy in London, hit men Ray (Colin Farrell, in a Golden Globe–winning role) and Ken (Brendan Gleeson) are ordered to lay low at a bed and breakfast in Bruges, Belgium, until their boss (Ralph Fiennes) phones with further instructions. But when he calls, Ken doesn’t like the assignment. Written and directed by Martin McDonagh, this dark comedy earned a BAFTA for Best Original Screenplay.
Red Storm Rising