Amazon Studios and Arri have collaborated on an exclusive, in-depth video featurette about “The Lord of the Rings: The Rings of Power,” analyzing the technological orchestra of large format cinematography, VFX, lighting, and cloud-based workflow of a key sequence: the eruption of Mount Doom. Read about this large format goodness.
BTS of “The Lord of the Rings: The Rings of Power”. Cinematographer Alex Disenhof ASC. Source: Arri Shot by Cinematographer Alex Disenhof ASC
A pivotal moment in season one is the cataclysmic eruption of Mount Doom at the end of episode six, its aftermath providing the backdrop to the opening of episode seven. Cinematographer Alex Disenhof ASC, who shot both episodes, chose this sequence as a perfect case study for the Arri featurette. It’s worth mentioning that Disenhof is the youngest active member of the ASC. He and senior visual effects supervisor Jason Smith were interviewed on camera at Arri Rental in London,...
BTS of “The Lord of the Rings: The Rings of Power”. Cinematographer Alex Disenhof ASC. Source: Arri Shot by Cinematographer Alex Disenhof ASC
A pivotal moment in season one is the cataclysmic eruption of Mount Doom at the end of episode six, its aftermath providing the backdrop to the opening of episode seven. Cinematographer Alex Disenhof ASC, who shot both episodes, chose this sequence as a perfect case study for the Arri featurette. It’s worth mentioning that Disenhof is the youngest active member of the ASC. He and senior visual effects supervisor Jason Smith were interviewed on camera at Arri Rental in London,...
- 5/11/2023
- by Yossy Mendelovich
- YMCinema
Apple TV+ has canceled “The Mosquito Coast” after two seasons, according to media reports.
The decision arrives fresh on the heels of the end of Season 2, the finale of which dropped two weeks ago.
Loosely based on Paul Theroux’s bestselling 1981 novel, “The Mosquito Coast” stars Justin Theroux, Melissa George, Logan Polish and Gabriel Bateman. The story follows Allie Fox (Theroux), an idealist inventor who puts his family in jeopardy in order to escape the U.S. government, cartels and bounty hunters.
A previous movie adaptation of the book starred Harrison Ford, Helen Mirren and River Phoenix. The first two seasons served as prequel material to the Peter Weir-directed film, which came out in 1986.
Also Read:
‘The Mosquito Coast’ Season 2 Trailer: Justin Theroux Seeks Refuge in a Guatemalan Jungle
The show’s second season watched the Fox family flee Mexico to seek shelter in a community of refugees led by an old friend of Allie.
The decision arrives fresh on the heels of the end of Season 2, the finale of which dropped two weeks ago.
Loosely based on Paul Theroux’s bestselling 1981 novel, “The Mosquito Coast” stars Justin Theroux, Melissa George, Logan Polish and Gabriel Bateman. The story follows Allie Fox (Theroux), an idealist inventor who puts his family in jeopardy in order to escape the U.S. government, cartels and bounty hunters.
A previous movie adaptation of the book starred Harrison Ford, Helen Mirren and River Phoenix. The first two seasons served as prequel material to the Peter Weir-directed film, which came out in 1986.
Also Read:
‘The Mosquito Coast’ Season 2 Trailer: Justin Theroux Seeks Refuge in a Guatemalan Jungle
The show’s second season watched the Fox family flee Mexico to seek shelter in a community of refugees led by an old friend of Allie.
- 1/21/2023
- by Dessi Gomez
- The Wrap
Conventional wisdom says not to start with anything particularly difficult on the first few set ups of a new project. Start simple and let the crew acclimate to each other as they begin the process of finding the rhythm that will carry them through the long days and nights ahead. However, schedules don’t always allow you to ease into things. Sometimes, as cinematographer Alex Disenhof discovered on Amazon Studios’s The Rings of Power, you spend day one on a 14,000-foot mountaintop accessible only by helicopter. “Our first two days of shooting were on Mount Kidd, which is on [New Zealand’s] […]
The post All Along the Parking Lot Watchtower: Dp Alex Disenhof on The Rings of Power first appeared on Filmmaker Magazine.
The post All Along the Parking Lot Watchtower: Dp Alex Disenhof on The Rings of Power first appeared on Filmmaker Magazine.
- 11/4/2022
- by Matt Mulcahey
- Filmmaker Magazine - Blog
Conventional wisdom says not to start with anything particularly difficult on the first few set ups of a new project. Start simple and let the crew acclimate to each other as they begin the process of finding the rhythm that will carry them through the long days and nights ahead. However, schedules don’t always allow you to ease into things. Sometimes, as cinematographer Alex Disenhof discovered on Amazon Studios’s The Rings of Power, you spend day one on a 14,000-foot mountaintop accessible only by helicopter. “Our first two days of shooting were on Mount Kidd, which is on [New Zealand’s] […]
The post All Along the Parking Lot Watchtower: Dp Alex Disenhof on The Rings of Power first appeared on Filmmaker Magazine.
The post All Along the Parking Lot Watchtower: Dp Alex Disenhof on The Rings of Power first appeared on Filmmaker Magazine.
- 11/4/2022
- by Matt Mulcahey
- Filmmaker Magazine-Director Interviews
[Editor’s Note: The following article contains spoilers for “The Lord of the Rings: The Rings of Power” Episode 7, “The Eye.”]
Given how sprawling “The Lord of the Rings: The Rings of Power” has proven to be in its opening season, one of the most surprising things that it could do is pick up exactly where it left off. After a startling end to the previous episode — one that saw an entire village transformed in an instant after awakening a deadly volcano — “The Eye” takes a stark look at the aftermath.
The episode’s opening image, of an ash-coated Galadriel (Morfydd Clark) opening her eyes to the new horrors surrounding her, is the quickest way the show could communicate that something is instantly wrong. It’s a simple idea, but one that episode director Charlotte Brändström said took great care to pull off.
“I always wanted to do that very first shot with Galadriel, when she got up and started looking around.
Given how sprawling “The Lord of the Rings: The Rings of Power” has proven to be in its opening season, one of the most surprising things that it could do is pick up exactly where it left off. After a startling end to the previous episode — one that saw an entire village transformed in an instant after awakening a deadly volcano — “The Eye” takes a stark look at the aftermath.
The episode’s opening image, of an ash-coated Galadriel (Morfydd Clark) opening her eyes to the new horrors surrounding her, is the quickest way the show could communicate that something is instantly wrong. It’s a simple idea, but one that episode director Charlotte Brändström said took great care to pull off.
“I always wanted to do that very first shot with Galadriel, when she got up and started looking around.
- 10/8/2022
- by Steve Greene
- Indiewire
This week's episode of "The Lord of the Rings: The Rings of Power" takes place in the shadow of disaster, as the ash cloud of Mount Doom darkens the skies of what will soon be called Mordor and sends a good chunk of core characters into a red-tinged nightmare. Among them are elf Galadriel (Morfydd Clark) and human boy Theo (Tyroe Muhafidin), two unlikely allies who share a moment of connection amidst the chaos. In an interview with /Film's Vanessa Armstrong, episode director of photography Alex Disenhof spoke about the power of their moment, and the detail that went into lighting what's meant to be a moonlit scene.
"One of my favorite scenes in the two episodes is the moment under the logs with Galadriel and Theo, because from a story standpoint, it's one of the first times you see Galadriel show a bit of a softer side," Disenhof says,...
"One of my favorite scenes in the two episodes is the moment under the logs with Galadriel and Theo, because from a story standpoint, it's one of the first times you see Galadriel show a bit of a softer side," Disenhof says,...
- 10/7/2022
- by Valerie Ettenhofer
- Slash Film
This post contains spoilers for "Lord of the Rings: The Rings of Power."
After things quite literally heated up with the creation of Mordor in Episode 6 of "The Rings of Power," Episode 7, titled "The Eye," has taken its time to allow things to settle down. The latest episode starts with the aftermath of the volcanic eruption in the Southlands, which brings about much death and destruction and sets the stage for key events to occur. The visual aspect of the volcanic eruption triggered by Sauron's hilt has been woven beautifully, as these visceral scenes act as a presage for the horrors that are about to engulf Middle-earth.
In a recent interview with "Rings of Power" director of photography Alex Disenhof, /Film's Vanessa Armstrong spoke to him about the technical aspects that contributed to the show's stunning lighting, camera angles, and cinematography. In this interview (which you can read here...
After things quite literally heated up with the creation of Mordor in Episode 6 of "The Rings of Power," Episode 7, titled "The Eye," has taken its time to allow things to settle down. The latest episode starts with the aftermath of the volcanic eruption in the Southlands, which brings about much death and destruction and sets the stage for key events to occur. The visual aspect of the volcanic eruption triggered by Sauron's hilt has been woven beautifully, as these visceral scenes act as a presage for the horrors that are about to engulf Middle-earth.
In a recent interview with "Rings of Power" director of photography Alex Disenhof, /Film's Vanessa Armstrong spoke to him about the technical aspects that contributed to the show's stunning lighting, camera angles, and cinematography. In this interview (which you can read here...
- 10/7/2022
- by Debopriyaa Dutta
- Slash Film
It's nothing less than tradition, at this point. When approaching any adaptation of J.R.R. Tolkien's work, filmmakers can reasonably expect to have at least a few large-scale, ambitious, and technically challenging battle sequences to pull off. Peter Jackson's "The Lord of the Rings" trilogy is filled with these moments, beginning as early as the prologue scenes depicting (spoiler alert!) the Dark Lord Sauron's defeat against the combined forces of Middle-earth and culminating with "The Return of the King." This continued in "The Hobbit," ultimately reaching its apex in "The Battle of the Five Armies" that essentially depicted a series of unending, loosely connected set pieces throughout most of the runtime.
Prime Video's "The Rings of Power" series lived up to such high expectations in a big way with episode 6, the long-awaited hour that finally pitted the Southlanders and eventually the late-arriving Númenoreans against the villainous Adar (Joseph Mawle) and his orcs.
Prime Video's "The Rings of Power" series lived up to such high expectations in a big way with episode 6, the long-awaited hour that finally pitted the Southlanders and eventually the late-arriving Númenoreans against the villainous Adar (Joseph Mawle) and his orcs.
- 10/7/2022
- by Jeremy Mathai
- Slash Film
Things are heating up in "The Rings of Power" in the season's last two episodes — there have been explosions, battles, and more than a couple scenes of characters traipsing around in the night. Shooting these various sequences across Middle-earth creates a lot of challenges for the show's director of photography or cinematographer, who's responsible for all the lighting and camera angles (and many other things) for the production.
I talked with Alex Disenhof, the director of photography for the sixth and seventh episodes of "The Rings of Power" about how he approached crafting the mood and atmosphere for several key scenes. Read on for that discussion, though be warned!
This interview contains spoilers for "The Rings of Power" through this season's seventh episode, "The Eye."
This interview has been condensed and lightly edited for clarity.
'We Decided That It Should Look Like Hell On Earth, Like The Middle Of A Wildfire'
To kick us off,...
I talked with Alex Disenhof, the director of photography for the sixth and seventh episodes of "The Rings of Power" about how he approached crafting the mood and atmosphere for several key scenes. Read on for that discussion, though be warned!
This interview contains spoilers for "The Rings of Power" through this season's seventh episode, "The Eye."
This interview has been condensed and lightly edited for clarity.
'We Decided That It Should Look Like Hell On Earth, Like The Middle Of A Wildfire'
To kick us off,...
- 10/7/2022
- by Vanessa Armstrong
- Slash Film
Click here to read the full article.
[Warning: This story contains spoilers for The Rings of Power, episode six.]
The sixth episode of The Rings of Power concluded with a spectacular reveal of an iconic Middle-earth landmark: The volcanic Mount Doom.
That mysterious sword young Theo discovered in the show’s first episode has turned out to be a key that was used to open a floodgate spilling water through those Orc-dug tunnels. The resulting torrent stream fell into the bowels of an active volcano. The mountain’s subsequent eruption as the water struck underground lava was like a nuclear bomb that turned the pastoral Southlands into what will eventually be known as Mordor.
In a show that could have easily have fallen back on using magic to accomplish a major terraforming twist like this one (see: every episode of The Witcher), the Mount Doom reveal was a rather clever way of using an essential element from the natural world.
Showrunners J.D. Payne...
[Warning: This story contains spoilers for The Rings of Power, episode six.]
The sixth episode of The Rings of Power concluded with a spectacular reveal of an iconic Middle-earth landmark: The volcanic Mount Doom.
That mysterious sword young Theo discovered in the show’s first episode has turned out to be a key that was used to open a floodgate spilling water through those Orc-dug tunnels. The resulting torrent stream fell into the bowels of an active volcano. The mountain’s subsequent eruption as the water struck underground lava was like a nuclear bomb that turned the pastoral Southlands into what will eventually be known as Mordor.
In a show that could have easily have fallen back on using magic to accomplish a major terraforming twist like this one (see: every episode of The Witcher), the Mount Doom reveal was a rather clever way of using an essential element from the natural world.
Showrunners J.D. Payne...
- 9/30/2022
- by James Hibberd
- The Hollywood Reporter - Movie News
The opening title card of writer-director Krystin Ver Linden’s feature film debut “Alice” says, “Inspired by true events,” and it could be argued that these words are more than metaphorically true, even if you don’t know the concept of the film beforehand.
Keke Palmer plays the title heroine, a woman enslaved on a 19th century Georgia plantation overseen by the viciously cruel Paul (Jonny Lee Miller). The first shot of the film sees her running for her life until she gets to a clearing, at which point her face opens up in shock and dismay, and she cries, “No!”
Ver Linden’s screenplay for “Alice” is very carefully structured. We flash back from that “No!” of hers to life on the plantation, which is given a poisonously incongruous sort of visual sumptuousness by cinematographer Alex Disenhof (Apple TV+’s “The Mosquito Coast”). We see a shot of Paul...
Keke Palmer plays the title heroine, a woman enslaved on a 19th century Georgia plantation overseen by the viciously cruel Paul (Jonny Lee Miller). The first shot of the film sees her running for her life until she gets to a clearing, at which point her face opens up in shock and dismay, and she cries, “No!”
Ver Linden’s screenplay for “Alice” is very carefully structured. We flash back from that “No!” of hers to life on the plantation, which is given a poisonously incongruous sort of visual sumptuousness by cinematographer Alex Disenhof (Apple TV+’s “The Mosquito Coast”). We see a shot of Paul...
- 1/24/2022
- by Dan Callahan
- The Wrap
A version of this story about “The Mosquito Coast” first appeared in the Comedy & Drama Series issue of TheWrap’s awards magazine.
(Note: This story may include spoilers).
Cinematographer Alex Disenhof admits to not being terribly familiar with “The Mosquito Coast” via either Paul Theroux’s 1981 novel or Peter Weir’s 1986 film starring Harrison Ford and Helen Mirren. But for those who have seen any of the episodes to date, it’s a rare case where that is perfectly Ok. “We didn’t really want to use them as jumping off points too much,” Disenhof said. “We wanted to tell our own story, and we were guided by the scripts handed to us.”
Apple’s series, hatched by “Luther” creator Neil Cross, retains the main story of both sources: the Foxes, an American family led by its eccentric, inventor paterfamilias Allie and his more introspective wife Margot (Melissa George), find...
(Note: This story may include spoilers).
Cinematographer Alex Disenhof admits to not being terribly familiar with “The Mosquito Coast” via either Paul Theroux’s 1981 novel or Peter Weir’s 1986 film starring Harrison Ford and Helen Mirren. But for those who have seen any of the episodes to date, it’s a rare case where that is perfectly Ok. “We didn’t really want to use them as jumping off points too much,” Disenhof said. “We wanted to tell our own story, and we were guided by the scripts handed to us.”
Apple’s series, hatched by “Luther” creator Neil Cross, retains the main story of both sources: the Foxes, an American family led by its eccentric, inventor paterfamilias Allie and his more introspective wife Margot (Melissa George), find...
- 6/21/2021
- by Jason Clark
- The Wrap
The first two episodes of “The Mosquito Coast,” currently streaming on Apple TV+, kicked off with a probing camera that helped convey the eccentric mind of inventor Allie Fox (Justin Theroux) and the perilous journey he’s forced to take with his family in pursuit of his mad dream. In the opener, the camera snakes through his steampunk refrigeration system that converts heat to ice, and, in the follow-up episode, the camera tracks a butterfly landing on top of a Coke can and then follows its flight through the urban emptiness, foreshadowing Fox’s path.
It was part of director Rupert Wyatt’s visual plan with cinematographer Alex Disenhof to keep us in a state of perpetual motion, as Allie, wife Margot (Melissa George), teenage daughter Dina (Logan Polish), and son Charlie (Gabriel Bateman) take flight from the American Southwest to Mexico when they are pursued by government agents. “The...
It was part of director Rupert Wyatt’s visual plan with cinematographer Alex Disenhof to keep us in a state of perpetual motion, as Allie, wife Margot (Melissa George), teenage daughter Dina (Logan Polish), and son Charlie (Gabriel Bateman) take flight from the American Southwest to Mexico when they are pursued by government agents. “The...
- 5/10/2021
- by Bill Desowitz
- Indiewire
The 2020 Emmy ballots have been released by the Television Academy, so we now know which shows, actors, etc. are in contention for this year’s golden statues. HBO’s “Watchmen” accounts for eight entries on the performer ballot, including lead actors Regina King and Jeremy Irons. The uniquely timely limited series about mask-wearing and racial injustice is a loose adaptation of the 1980s comic book about vigilante superheroes, which only lasted a single volume. Tour our photo gallery above to see all of the actors who’ve been submitted for the 2020 Emmy Awards.
“Lost” and “The Leftovers” showrunner Damon Lindelof oversees the first season, but has gone on record saying he won’t return if the show eventually comes back for a second installment. As for creating a diverse team both in front of and behind the camera, Lindelof explained in our recent interview, “I hate using the word ‘diversity...
“Lost” and “The Leftovers” showrunner Damon Lindelof oversees the first season, but has gone on record saying he won’t return if the show eventually comes back for a second installment. As for creating a diverse team both in front of and behind the camera, Lindelof explained in our recent interview, “I hate using the word ‘diversity...
- 7/11/2020
- by Marcus James Dixon
- Gold Derby
Essentially a humbler, grungier indie “X-Men” without the same dependence on splashy effects, “Code 8” is a solid genre effort from director Jeff Chan. Spun off from his prior short of the same name, the crowdfunded effort is resourceful and polished on a tight budget. Its fast-paced progress has enough appeal to suggest a possible franchise, even if this potential kickoff is held back from becoming something more memorable by the general familiarity of the story and character concepts. Starring cousins Robbie and Stephen Amell (both best known for their respective CW series “The Flash” and “Arrow”), the Canadian sci-fi action film opened Dec. 6 on a single Los Angeles screen, expanding to other U.S. cities as well as streaming on Dec. 13.
In the alternative near-future of fictive Lincoln City, a minority of “power-enabled” persons were once valued members of society. But since automation has more or less replaced any...
In the alternative near-future of fictive Lincoln City, a minority of “power-enabled” persons were once valued members of society. But since automation has more or less replaced any...
- 12/12/2019
- by Dennis Harvey
- Variety Film + TV
Stars: John Goodman, Ashton Sanders, Jonathan Majors, Vera Farmiga, Kevin Dunn, James Ransone, Alan Ruck, Madeline Brewer, Machine Gun Kelly, Kevin J. O’Connor | Written by Erica Beeney, Rupert Wyatt | Directed by Rupert Wyatt
Captive State is director Rupert Wyatt’s first feature film in five years after the relatively underseen drama, and his remake of the same name, The Gambler – released in 2014, starring Mark Wahlberg, Brie Larson and John Goodman. Wyatt re-teams with Goodman on his latest science fiction thriller that evokes a similar sentiment as his breakout cinematic hit Rise of the Planet of the Apes in 2011, with deeply engaging social/political commentary and a superb climactic flair that crafts Captive State into a thrilling, albeit slightly over-convoluted narrative.
The stand out here is the superbly eerie and grounded production design by Keith P. Cunningham. The execution of scale and scope in the unsettling and glib setting of...
Captive State is director Rupert Wyatt’s first feature film in five years after the relatively underseen drama, and his remake of the same name, The Gambler – released in 2014, starring Mark Wahlberg, Brie Larson and John Goodman. Wyatt re-teams with Goodman on his latest science fiction thriller that evokes a similar sentiment as his breakout cinematic hit Rise of the Planet of the Apes in 2011, with deeply engaging social/political commentary and a superb climactic flair that crafts Captive State into a thrilling, albeit slightly over-convoluted narrative.
The stand out here is the superbly eerie and grounded production design by Keith P. Cunningham. The execution of scale and scope in the unsettling and glib setting of...
- 3/28/2019
- by Jak-Luke Sharp
- Nerdly
Given the allusions to literal and thematic Trojan Horses that pepper its third act, one probably shouldn’t be surprised that “Captive State” — which opened cold on March 14 after Focus mysteriously canceled screenings for critics — actually is something of a purposefully camouflaged interloper. Although the TV ads and other promotional material appear to promise a megaplex-ready thrill ride about space invaders and rebellious Earthlings, this rigorously intelligent, cunningly inventive, and impressively suspenseful drama plays more like a classic tale about a disparate group of resistance fighters united in a guerrilla campaign against an occupying force.
The big difference here, of course, is that the occupiers are extraterrestrials, not German troops or British colonialists. But, truth to tell, director Rupert Wyatt (“Rise of the Planet of the Apes”) and scriptwriter Erica Beeney (“The Battle of Shaker Heights”) don’t seem terribly interested in those intergalactic beasties, which appear only fleetingly on scattered occasions,...
The big difference here, of course, is that the occupiers are extraterrestrials, not German troops or British colonialists. But, truth to tell, director Rupert Wyatt (“Rise of the Planet of the Apes”) and scriptwriter Erica Beeney (“The Battle of Shaker Heights”) don’t seem terribly interested in those intergalactic beasties, which appear only fleetingly on scattered occasions,...
- 3/15/2019
- by Joe Leydon
- Variety Film + TV
Filming to continue in Toronto until mid-July 2017; Elevation targets 2019 Canada release.
Principal photography has commenced on Jeff Chan’s sci-fi thriller Code 8.
Code 8 is set in a world where four percent of the population is born with supernatural powers and face discrimination and a life of privation. The film centres on a young man with abilities who clashes with a militarised police unit after committing a series of crimes.
Robbie Amell and Stephen Amell star alongside Sung Kang, Kari Matchett, Greg Bryk, and Aaron Abrams.
The film is based on Chan’s short film of the same name that inspired an Indiegogo campaign in 2016 that exceeded its initial $200,000 goal by raising more than $1.7m, allowing for production to begin on the feature version.
In addition to the Indiegogo funds raised, Code 8 is financed by Telefilm Canada and the Fyzz Facility.
Elevation Pictures is distributing the film in Canada, while [link=co...
Principal photography has commenced on Jeff Chan’s sci-fi thriller Code 8.
Code 8 is set in a world where four percent of the population is born with supernatural powers and face discrimination and a life of privation. The film centres on a young man with abilities who clashes with a militarised police unit after committing a series of crimes.
Robbie Amell and Stephen Amell star alongside Sung Kang, Kari Matchett, Greg Bryk, and Aaron Abrams.
The film is based on Chan’s short film of the same name that inspired an Indiegogo campaign in 2016 that exceeded its initial $200,000 goal by raising more than $1.7m, allowing for production to begin on the feature version.
In addition to the Indiegogo funds raised, Code 8 is financed by Telefilm Canada and the Fyzz Facility.
Elevation Pictures is distributing the film in Canada, while [link=co...
- 6/8/2017
- ScreenDaily
The American Society of Cinematographers (Asc) have announced the television nominees for their 31st annual Outstanding Achievement Awards.
This year “Game of Thrones” received two nominations, more than any other show. Anette Haellmigk and Fabian Wagner are both receiving their third nominations for the HBO show. Haellmigk was previously nominated for the series in 2014 and 2015, and Wagner in 2015 and 2016.
Other notable nominees include Christopher Norr who is receiving his third consecutive nomination for his work on “Gotham,” and Richard Rutkowski gets his second nomination for “Manhattan.” New series receiving praise this year include “Westworld” and “The Exorcist.”
Read More: Sundance 2017 Announces Short Selections, With New Films From Kristen Stewart, Laura Poitras and Many More
The nominees were selected by Asc active members who voted on submissions. This year’s winners will be revealed on February 4, 2017, at the organization’s annual ceremony at the Hollywood & Highland Ray Dolby Ballroom in Los Angeles.
This year “Game of Thrones” received two nominations, more than any other show. Anette Haellmigk and Fabian Wagner are both receiving their third nominations for the HBO show. Haellmigk was previously nominated for the series in 2014 and 2015, and Wagner in 2015 and 2016.
Other notable nominees include Christopher Norr who is receiving his third consecutive nomination for his work on “Gotham,” and Richard Rutkowski gets his second nomination for “Manhattan.” New series receiving praise this year include “Westworld” and “The Exorcist.”
Read More: Sundance 2017 Announces Short Selections, With New Films From Kristen Stewart, Laura Poitras and Many More
The nominees were selected by Asc active members who voted on submissions. This year’s winners will be revealed on February 4, 2017, at the organization’s annual ceremony at the Hollywood & Highland Ray Dolby Ballroom in Los Angeles.
- 12/6/2016
- by Liz Calvario
- Indiewire
Half a dozen shorts, one unheard of horror feature film offering (2013’s Devil In My Ride) and several indie producing creds most recently William H. Macy’s Rudderless, Gary Michael Schultz managed to land an impress set of indie players in Emile Hirsch, Zoë Kravitz, Zoey Deutch, Emory Cohen, Beau Knapp and Scott “Kid Cudi” Mescudi for his attention getting sophomore title. Principal photography on his love/violence themed revenge thriller began in Louisiana last December and it could potnetially have a soothing chaotic look as it was Fishing Without Nets’ Alex Disenhof on board as cinematographer.
Gist: Based on a story by Keith Kjarval, this follows a down-on-their-luck pair of rebels who fall in love and fall apart when their violent pasts catch up with them.
Production Co./Producers: Unified Pictures’ Keith Kjarval (The Layover). Executive Producers: Robert Ogden Barnum, Jason Cloth, Nadine DeBarros, Jeff Elliott, Aaron L. Gilbert,...
Gist: Based on a story by Keith Kjarval, this follows a down-on-their-luck pair of rebels who fall in love and fall apart when their violent pasts catch up with them.
Production Co./Producers: Unified Pictures’ Keith Kjarval (The Layover). Executive Producers: Robert Ogden Barnum, Jason Cloth, Nadine DeBarros, Jeff Elliott, Aaron L. Gilbert,...
- 11/26/2015
- by Eric Lavallee
- IONCINEMA.com
Question. What do The Skeleton Twins, The Better Angels and actor Miles Teller have in common? There’ll always be some head-scratcher surprises and snubs and the 2015 Indie Spirit award nominations are no different. It goes with the territory. As we tend to some wounds, we access those that were criminally overlooked in the key categories. Here is a glance at some of the shoulda, woulda and coulda.
Best Feature
Birdman or (The Unexpected Virtue of Ignorance)
Boyhood
Love is Strange
Selma
Whiplash
Falling below the 21 million mark set by the Indie Spirit folks, it is indeed an odd year when a major studio release figures among the fives noms. Considering that Ava DuVernay is an indie talent, I didn’t think her film would be part of the equation. That said, it was a given that Boyhood and the more deserving Birdman and Whiplash would all face off. In...
Best Feature
Birdman or (The Unexpected Virtue of Ignorance)
Boyhood
Love is Strange
Selma
Whiplash
Falling below the 21 million mark set by the Indie Spirit folks, it is indeed an odd year when a major studio release figures among the fives noms. Considering that Ava DuVernay is an indie talent, I didn’t think her film would be part of the equation. That said, it was a given that Boyhood and the more deserving Birdman and Whiplash would all face off. In...
- 11/28/2014
- by Eric Lavallee
- IONCINEMA.com
Debut competition titles at cinematography festival unveiled.
Camerimage, the International Film Festival of the Art of Cinematography (Nov 15-22), has revealed the line-up of films screening in three of the festival’s competition sections including Cinematographers’ Debut, Directors’ Debut and Student Etudes.
The entries are:
Cinematographers’ Debut Competition
Duane Hopkins’ Bypass;
UK, 2014; Cinematographer: David Procter
Sidney Lexy Plaut’s Dark Samurai;
Denmark, 2014; Cinematographer: Sidney Lexy Plaut
Zeresenay Berhane Mehari’s Difret;
Ethiopia, USA, 2014; Cinematographer: Monika Lenczewska
Krzysztof Skonieczny’s Hardkor Disko;
Poland, 2014; Cinematographer: Kacper Fertacz
Arild Østin Ommundsen’s It’s Only Make Believe;
Norway, 2013; Cinematographer: Arild Østin Ommundsen
Michael Cody and Amiel Courtin-Wilson’s Ruin;
Australia, 2013; Cinematographer: Ari Wegner
Ester Martin Bergsmark’s Something Must Break;
Sweden, 2014; Cinematographers: Lisabi Fridell and Minka Jakerson
David Pablos’ The Life After;
Mexico, 2013; Cinematographer: José De- La-Torre
Saar Klein’s Things People Do;
USA, 2014; Cinematographer: Matthias Koenigswieser
Jonas Alexander Arnby’s When Animals Dream;
Denmark, 2013; Cinematographer: [link=nm...
Camerimage, the International Film Festival of the Art of Cinematography (Nov 15-22), has revealed the line-up of films screening in three of the festival’s competition sections including Cinematographers’ Debut, Directors’ Debut and Student Etudes.
The entries are:
Cinematographers’ Debut Competition
Duane Hopkins’ Bypass;
UK, 2014; Cinematographer: David Procter
Sidney Lexy Plaut’s Dark Samurai;
Denmark, 2014; Cinematographer: Sidney Lexy Plaut
Zeresenay Berhane Mehari’s Difret;
Ethiopia, USA, 2014; Cinematographer: Monika Lenczewska
Krzysztof Skonieczny’s Hardkor Disko;
Poland, 2014; Cinematographer: Kacper Fertacz
Arild Østin Ommundsen’s It’s Only Make Believe;
Norway, 2013; Cinematographer: Arild Østin Ommundsen
Michael Cody and Amiel Courtin-Wilson’s Ruin;
Australia, 2013; Cinematographer: Ari Wegner
Ester Martin Bergsmark’s Something Must Break;
Sweden, 2014; Cinematographers: Lisabi Fridell and Minka Jakerson
David Pablos’ The Life After;
Mexico, 2013; Cinematographer: José De- La-Torre
Saar Klein’s Things People Do;
USA, 2014; Cinematographer: Matthias Koenigswieser
Jonas Alexander Arnby’s When Animals Dream;
Denmark, 2013; Cinematographer: [link=nm...
- 10/16/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
There's plenty of advice out there for aspiring filmmakers and cinematographers, some great, some garbage. With that in mind, Indiewire asked the cinematographers of the 2014 Sundance Film Festival what was the best and worst advice they ever received, as part of our How I Shot That series. Here is a selection of their responses: Best Advice: "Don't feel pressure to run to the frontline and film. Follow your gut instincts and get in and get out and only if it there are essential moments for you to tell your story." -- Cinematographer Rachel Beth Anderson ("E-Team") "Vilmos Zsigmond told me, 'Jim, nice guys finish first and when you are successful promise me that you will help the next person.'" -- Cinematographer James Chressanthis ("Cesar's Last Fast") "First and foremost: It's not a race. Enjoy the whole journey and be proud of yourself even when things aren't going your way.
- 1/23/2014
- by Max O'Connell
- Indiewire
Cinematographer Alex Disenhof spoke to Indiewire about shooting "Fishing Without Nets," a U.S. Dramatic entry that premiered at the 2014 Sundance Film Festival and was directed by Cutter Hodierne. "Fishing Without Nets" chronicles the life of a Somali husband and father forced into piracy in order to provide for his family. Disenhof previously worked on "The We and the I," "Funeral Kings" and "Emoticon." Which camera and lens did you use? We used the Red Epic and Red Scarlett cameras with Zeiss Super Speeds and Angenieux Optimo Dp 16-42mm, and 30-80mm zooms. What was the most difficult shot in your movie, and how did you pull it off? We had many difficult shots, as we often did ten minute long handheld takes looking 360 degrees. Possibly the most difficult of all was shooting handheld on a rickety wooden boat deep out at sea. I had to follow several 'pirates'...
- 1/22/2014
- by Eric Eidelstein
- Indiewire
It’s that time again. The biggest American film festival is upon us, and this year the Ioncinema crew will be descending on Park City with eight feet on the ground and eight eyes on Park City’s various and plentiful screens. Eric Lavallee, Nicholas Bell, Caitlin Coder and I will be covering just about every inch of this year’s festival here at Ioncinema.com, as well as on that ever increasingly vibrant instanews network – Twitter. Be sure to follow @ioncinema and, as stated above, my personal handle @Rectangular_Eye, as we’ll be tweeting throughout the festival with breaking news, reviews, and sightings, all the while trying to keep up with the massive amount of content sure to be coming from this year’s Sundance filmmakers themselves, most of which have their own Twitter accounts and are listed at length below (minus the world & short programs). Whether you...
- 1/16/2014
- by Jordan M. Smith
- IONCINEMA.com
The first in this year’s Guide to the Sundance Twitterverse series is the complete U.S. Dramatic Competition, which just at first glance has an immense amount of tweeting going on. Don’t miss the Hellion crew, headed by Writer/Director Kat Candler (@katcandler), nor the official Dear White People feed, (@DearWhitePeople). There’s more to come throughout the day.
U.S. Dramatic Competition
Camp X-Ray - @CampXRayMovie
Cold in July
Producer René Bastian - @renebastian
Dear White People - @DearWhitePeople
Writer/Director Justin Simien - @JSim07
Producer Lena Waith - @hillmangrad
Producer Julia Lebedev - @thisisresearch
Actor Tyler James Williams - @TylerJamesWill
Actress Teyonah Parris - @TeyonahParris
Fishing Without Nets - @fishing
Writer/Director Cutter Hodierne – @MyNameIsCUTTER
Writer/Producer John Hibey - @somaliproduced
Producer Raphael Swann - @raphaelswann
Producer Brian Glazen - @bglazen
Cinematographer Alex Disenhof – @adisenhof
God’s Pocket
Producer Sam Bisbee - @sambisbee
Composer Nathan Larson...
U.S. Dramatic Competition
Camp X-Ray - @CampXRayMovie
Cold in July
Producer René Bastian - @renebastian
Dear White People - @DearWhitePeople
Writer/Director Justin Simien - @JSim07
Producer Lena Waith - @hillmangrad
Producer Julia Lebedev - @thisisresearch
Actor Tyler James Williams - @TylerJamesWill
Actress Teyonah Parris - @TeyonahParris
Fishing Without Nets - @fishing
Writer/Director Cutter Hodierne – @MyNameIsCUTTER
Writer/Producer John Hibey - @somaliproduced
Producer Raphael Swann - @raphaelswann
Producer Brian Glazen - @bglazen
Cinematographer Alex Disenhof – @adisenhof
God’s Pocket
Producer Sam Bisbee - @sambisbee
Composer Nathan Larson...
- 1/16/2014
- by Jordan M. Smith
- IONCINEMA.com
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