• It could be 10th time lucky for Skyfall cinematographer Roger Deakins - but after missing out so many times, he will probably not be holding his breath.

    BBC: Oscars 2013: Stars arrive in Hollywood for Academy Awards

  • Joining the small crew -- Chris Patterson as chief cinematographer and myself as assistant cameraman -- are two striking athletes: Kristen "Liggy" Lignell from Lake Tahoe and Justine Van Houte from Telluride.

    CNN: The snows of Erukenya

  • In this engrossing documentary, the independent filmmaker Robert Greene insinuates himself and his sharp-eyed cinematographer, Sean Price Williams, into the lives and labors of the performers of the independent Millennium Wrestling Federation (based in Lincolnton, North Carolina), and reveals the surprising and demanding attributes and passions of their art.

    NEWYORKER: Fake It So Real

  • The director, Anton Corbijn, a Dutch-born still photographer, works in a disciplined, Precisionist style dry, hard-focus color (Martin Ruhe is the cinematographer) and long stretches of silence (the occasional gunshots are as startling as a sudden crack across the kneecap).

    NEWYORKER: The American

  • The cinematographer Peter Deming lights one of the blackest of all film-noir fade-outs: it traps you in an infinite night.

    NEWYORKER: Lost Highway

  • Bigelow and her cinematographer, Adrian Biddle, establish vivid contrasting looks for the historical and present-day action.

    NEWYORKER: The Weight of Water

  • Polanski used the dour north coast of Germany as a substitute for the Vineyard in winter, and the cinematographer Pawel Edelman turns the constant downpour and gloom into a beautiful, slate-colored curtain a subdued but enveloping field of lies and secrecy, impenetrable to the Ghost, who is lost among power players far too clever for him.

    NEWYORKER: The Ghost Writer

  • The cinematographer John Bailey is shooting a portrait of Werner Herzog, the soulful, disaster-prone German director, at the same time that Herzog and Zak Penn, a crass American screenwriter-producer, go off to Loch Ness to make a film about our spiritual need for monsters.

    NEWYORKER: Incident at Loch Ness

  • Shelton and his crew (which includes cinematographer Russell Boyd and the editor Paul Seydor) have put together basketball sequences that capture the free-flowing rhythms of the game.

    NEWYORKER: White Men Can��t Jump

  • Everyone involved in this picture seems overqualified, from the writers (Robert Towne, with Beatty) to the cinematographer (Conrad Hall) to the production designer (the late Ferdinando Scarfiotti) to the large, pointlessly high-powered supporting cast (headed by Katharine Hepburn).

    NEWYORKER: Love Affair

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