“We were all set for a night shoot and had a big artificial moon light,” Wolski recalls. One startling shot silhouettes a church against a darkening and pink sunset. Interiors and exteriors of homesteads and the dark and dirty but bustling outpost towns are often lit with hurricane gas lamps. To evoke the hardship of life lived in the saddle the film is shot using mostly natural light. “We needed to find the balance between being stylish and true to the period yet contemporary,” says Wolski who shot handheld and occasional Steadicam using Alexa Mini LFs and Angénieux zooms. The director’s debut collaboration with Dariusz Wolski ASC is inspired. Read more: Behind the Scenes: News of the World.It’s an engrossing horseback ride that asks for a delicate touch and one that you might not immediately associate with the cinematographer of blockbusters Crimson Tide, Alien: Covenant, or Pirates of the Caribbean. The proxy relationship between Tom Hanks’ war veteran and an orphaned girl is the heart of Paul Greengrass’ western. None of these contenders has won Oscar before.Ĭlick on the ‘Read more’ links for the full articles on each film. Four of the five selected films were shot on Arri with one ( Mank) shot on Red. ![]() There’s an eclectic mix of films nominated for cinematography with previously nominated DPs Dariusz Wolski and Phedon Papamichael mixing with established DP Sean Bobbitt, rising star Erik Messerschmidt and young British DP Joshua James Richards, making his third feature.
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