Aquaman’s mom Nicole Kidman is a superhero of cinemas, thanks to her enduringly viral AMC ads.
The Oscar winner starred in an infamous 2021 campaign for the largest U.S. theater chain — new versions of the ad are currently rolling out. In a recent cover story for Elle, Kidman spoke about her newfound commercial calling as a way to save theaters from extinction.
“It was just the desire to keep cinemas alive,” Kidman said. “I’ve had the best experiences in cinema. I’d pretend I was going to school; I’d forge a note, and I’d go and sit in a movie theater. That’s a safe haven for me, so the idea of those not existing — that’s just not part of the equation in my lifetime.”
Kidman continued, “If that’s what it takes, I’ll do whatever it takes. We have to have some more ideas for the next one.
The Oscar winner starred in an infamous 2021 campaign for the largest U.S. theater chain — new versions of the ad are currently rolling out. In a recent cover story for Elle, Kidman spoke about her newfound commercial calling as a way to save theaters from extinction.
“It was just the desire to keep cinemas alive,” Kidman said. “I’ve had the best experiences in cinema. I’d pretend I was going to school; I’d forge a note, and I’d go and sit in a movie theater. That’s a safe haven for me, so the idea of those not existing — that’s just not part of the equation in my lifetime.”
Kidman continued, “If that’s what it takes, I’ll do whatever it takes. We have to have some more ideas for the next one.
- 3/19/2024
- by Samantha Bergeson
- Indiewire
Nikon aims to expand its reach in the cinematography business. The company revealed that it entered into an agreement to acquire cinematography camera maker Red, which would become a wholly-owned subsidiary of Nikon. Terms and value of the deal weren’t disclosed.
“Nikon will leverage this acquisition to expand the fast-growing professional digital cinema camera market, building on both companies’ business foundations and networks, promising an exciting future of product development that will continue to push the boundaries of what is possible in film and video production,” the company said in the announcement. “Nikon’s expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with Red’s knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products.”
Red cameras have been selected by leading cinematographers such as Erik Messerschmidt, who...
“Nikon will leverage this acquisition to expand the fast-growing professional digital cinema camera market, building on both companies’ business foundations and networks, promising an exciting future of product development that will continue to push the boundaries of what is possible in film and video production,” the company said in the announcement. “Nikon’s expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with Red’s knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products.”
Red cameras have been selected by leading cinematographers such as Erik Messerschmidt, who...
- 3/7/2024
- by Carolyn Giardina
- Variety Film + TV
Somehow crying tears of joy feels good in a place like this.
The viral Nicole Kidman-led AMC ad campaign may be warranting a follow-up segment, according to AMC CEO Adam Aron.
“It’s being decided right now. I’m not sure when we’re going to do it — this year or next year,” Aron told Variety. “One version has been written, but whether that’s the one we make or not, I don’t know. We’ll all see it together. We’ll try to live up to your expectations when the time comes.”
Oscar winner Kidman appeared in the commercial that first debuted in September 2021 featuring a script written by “Captain Phillips” scribe Billy Ray.
Aron continued about the partnership with Kidman, “She’s happy to hear it. I’ll share this with you. On June 10, Nicole Kidman is being honored by the American Film Institute and getting its 49th Life Achievement Award.
The viral Nicole Kidman-led AMC ad campaign may be warranting a follow-up segment, according to AMC CEO Adam Aron.
“It’s being decided right now. I’m not sure when we’re going to do it — this year or next year,” Aron told Variety. “One version has been written, but whether that’s the one we make or not, I don’t know. We’ll all see it together. We’ll try to live up to your expectations when the time comes.”
Oscar winner Kidman appeared in the commercial that first debuted in September 2021 featuring a script written by “Captain Phillips” scribe Billy Ray.
Aron continued about the partnership with Kidman, “She’s happy to hear it. I’ll share this with you. On June 10, Nicole Kidman is being honored by the American Film Institute and getting its 49th Life Achievement Award.
- 5/2/2023
- by Samantha Bergeson
- Indiewire
Variety's Awards Circuit is home to the official predictions for the upcoming Oscars and Emmys ceremonies from film awards editor Clayton Davis. Following history, buzz, news, reviews and sources, the Oscar and Emmy predictions are updated regularly with the current year's list of contenders in all categories. Variety's Awards Circuit Prediction schedule consists of four phases, running all year long: Draft, Pre-Season, Regular Season and Post Season. The eligibility calendar and dates of awards will determine how long each phase lasts and is subject to change.
To see all the latest predictions, of all the categories, in one place, visit The Oscars Collective
Visit each category, per the individual awards show from The Oscars Hub
Revisit the prediction archive of the 2021 season The Archive
Link to television awards is atTHE Emmys Hub
2022 Oscars Predictions:
Best Cinematography
Updated: Jan 30, 2022
Awards Prediction Commentary: The ASC Awards recognized Ari Wegner in the theatrical...
To see all the latest predictions, of all the categories, in one place, visit The Oscars Collective
Visit each category, per the individual awards show from The Oscars Hub
Revisit the prediction archive of the 2021 season The Archive
Link to television awards is atTHE Emmys Hub
2022 Oscars Predictions:
Best Cinematography
Updated: Jan 30, 2022
Awards Prediction Commentary: The ASC Awards recognized Ari Wegner in the theatrical...
- 1/30/2022
- by Clayton Davis
- Variety Film + TV
The race for best cinematography is among the most competitive races this year at the Oscars. Black-and-white dramas, sci-fi dazzlers and Hollywood blockbusters are among the contenders, and it’s not entirely sure where it all might land. The American Society of Cinematographers, which announces its nominees tomorrow, will set a tone leading up to the opening of Oscar nomination voting, which begins on Thursday.
From ASC’s theatrical releases category to the Oscars, the track record averages about four out of five matches every year. Past ASC selections like “First Man” (Linus Sandgren), “Ford v Ferrari” (Phedon Papamichael), and last year’s “Cherry” (Newton Thomas Sigel) failed to transition to the Academy in favor of “Never Look Away” (Caleb Deschanel), “The Lighthouse” (Jarin Blaschke) and “Judas and the Black Messiah” (Sean Bobbitt). The last time they perfectly aligned was in 2017.
Over 93 years of the Academy Awards, Rachel Morrison is...
From ASC’s theatrical releases category to the Oscars, the track record averages about four out of five matches every year. Past ASC selections like “First Man” (Linus Sandgren), “Ford v Ferrari” (Phedon Papamichael), and last year’s “Cherry” (Newton Thomas Sigel) failed to transition to the Academy in favor of “Never Look Away” (Caleb Deschanel), “The Lighthouse” (Jarin Blaschke) and “Judas and the Black Messiah” (Sean Bobbitt). The last time they perfectly aligned was in 2017.
Over 93 years of the Academy Awards, Rachel Morrison is...
- 1/24/2022
- by Clayton Davis
- Variety Film + TV
At six of the last nine Oscars, Best Cinematography has gone hand-in-hand with Best Director: Claudio Miranda and Ang Lee for “Life of Pi” (2013); Emmanuel Lubezki and Alfonso Cuaron for “Gravity” (2014); Lubezki and Alejandro G. Inarritu for both “Birdman” (2015) and “The Revenant” (2016); Linus Sandgren and Damien Chazelle for “La La Land” (2017); and Cuaron doing double duty on “Roma” (2019). Will that trend hold true this year? (Scroll down for the most up-to-date 2022 Oscars predictions for Best Cinematography.)
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
- 1/23/2022
- by Paul Sheehan
- Gold Derby
IndieWire reached out to the directors of photography whose films are in awards contention and are among the most critically acclaimed films of the year to find out which cameras and lenses they used and, more importantly, why these were the right tools to create the visual language of their respective films.
All films are listed alphabetically by title.
“Being the Ricardos”
Dir: Aaron Sorkin, DoP: Jeff Cronenweth
Format: 2:40 8k with a 10% reduction for frame adjustments and stabilization
Camera: Red Ranger 8k Vv
Lens: Arri DNA Primes
Cronenweth: It always starts with the story and with an Aaron Sorkin script you are going to be taken on a human rollercoaster of emotion and humor through challenging interpersonal relationships. Spherical 2:40 was the right choice in representing the scale (or lack of) and the era the film takes place during. The approach to “Being The Ricardos” was to capture the...
All films are listed alphabetically by title.
“Being the Ricardos”
Dir: Aaron Sorkin, DoP: Jeff Cronenweth
Format: 2:40 8k with a 10% reduction for frame adjustments and stabilization
Camera: Red Ranger 8k Vv
Lens: Arri DNA Primes
Cronenweth: It always starts with the story and with an Aaron Sorkin script you are going to be taken on a human rollercoaster of emotion and humor through challenging interpersonal relationships. Spherical 2:40 was the right choice in representing the scale (or lack of) and the era the film takes place during. The approach to “Being The Ricardos” was to capture the...
- 1/3/2022
- by Sarah Shachat
- Indiewire
Producers: Todd Black, Jason Blumenthal, Steve Tisch.
Executive producers: Jenna Block, Stuart Besser, David Bloomfield, Lauren Lohman, Lucie Arnaz, Desi Arnaz Jr.
Director: Aaron Sorkin.
Screenplay: Aaron Sorkin.
Camera: Jeff Cronenweth.
Editor: Alan Baumgarten.
Music: Daniel Pemberton.
Cast: Nicole Kidman, Javier Bardem, J.K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, Linda Lavin, Ronny Cox, John Rubinstein, Clark Gregg, Nelson Franklin, Jeff Holman, Jonah Platt, Christopher Denham, Brian Howe, Ron Perkins.
…...
Executive producers: Jenna Block, Stuart Besser, David Bloomfield, Lauren Lohman, Lucie Arnaz, Desi Arnaz Jr.
Director: Aaron Sorkin.
Screenplay: Aaron Sorkin.
Camera: Jeff Cronenweth.
Editor: Alan Baumgarten.
Music: Daniel Pemberton.
Cast: Nicole Kidman, Javier Bardem, J.K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, Linda Lavin, Ronny Cox, John Rubinstein, Clark Gregg, Nelson Franklin, Jeff Holman, Jonah Platt, Christopher Denham, Brian Howe, Ron Perkins.
…...
- 12/21/2021
- by Nicholas Bell
- IONCINEMA.com
I Love Lucy remains the single most influential series in television history; there is perhaps not a single sitcom in the medium’s long existence that doesn’t owe some stylistic debt to the program, and its creation and development were groundbreaking in ways that we are still trying to catch up with in 2021. Yet the one thing you won’t really get from Being the Ricardos, writer-director Aaron Sorkin’s look at a week in the life of Lucy creators and stars, and real-life couple, Lucille Ball and Desi Arnaz, is a true sense of what the show was like, and how it was produced and written from week to week.
Oh sure, Being the Ricardos ostensibly takes place during the production of one episode, from the Monday table read of the script to the Friday taping of the show in front of a live audience, but it’s almost incidental to the many,...
Oh sure, Being the Ricardos ostensibly takes place during the production of one episode, from the Monday table read of the script to the Friday taping of the show in front of a live audience, but it’s almost incidental to the many,...
- 12/21/2021
- by Don Kaye
- Den of Geek
Curated by the IndieWire Crafts team, Craft Considerations is a platform for filmmakers to talk about recent work we believe is worthy of awards consideration. In partnership with Amazon Studios, for this edition we look at how costume designer Susan Lyall, production designer Jon Hutman, and cinematographer Jeff Cronenweth re-imagined the private and backstage life of Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem) in writer-director Aaron Sorkin’s new film “Being the Ricardos.”
For Jon Hutman, the production designer who built the original “The West Wing” sets, the focus of his latest collaboration with Aaron Sorkin was familiar territory. “What people want to see in this movie is not what happened on the stage; everyone wants to know what happens backstage.” Recalled costume designer Susan Lyall, “One of the first things Aaron said, ‘We are not doing ‘I Love Lucy.’ It’s the drama behind the comedy.’”
And while Lyall,...
For Jon Hutman, the production designer who built the original “The West Wing” sets, the focus of his latest collaboration with Aaron Sorkin was familiar territory. “What people want to see in this movie is not what happened on the stage; everyone wants to know what happens backstage.” Recalled costume designer Susan Lyall, “One of the first things Aaron said, ‘We are not doing ‘I Love Lucy.’ It’s the drama behind the comedy.’”
And while Lyall,...
- 12/20/2021
- by Chris O'Falt
- Indiewire
If you enter into Being the Ricardos expecting a tell-all scandal-ridden exposé of the beloved couple, you may be summarily disappointed. However, if you approach the film looking for an effectively told story of a couple wherein one party goes to the ends of the earth for the other in an attempt to make the relationship successful and the pain that is caused when that is not reciprocated, then you will be rewarded with one of the more honest and heartbreaking stories delivered by recent cinema.
The narrative of the film centers on one particular week during the production of the seminal sitcom I Love Lucy during which national newspapers are preparing a story that links star Lucille Ball (Nicole Kidman) and the Communist Party. During the five days of production before the actual taping of the show, the film bounces between closed-door meetings and writers’ room discussions and several...
The narrative of the film centers on one particular week during the production of the seminal sitcom I Love Lucy during which national newspapers are preparing a story that links star Lucille Ball (Nicole Kidman) and the Communist Party. During the five days of production before the actual taping of the show, the film bounces between closed-door meetings and writers’ room discussions and several...
- 12/10/2021
- by Mike Tyrkus
- CinemaNerdz
Aaron Sorkin is one of the most accomplished screenwriters of the last four decades, an Oscar and Emmy winner whose screenplay for “The Social Network” was recently deemed the third-best of the 21st century by the Writers Guild of America. But starting in 2017 with “Molly’s Game,” Sorkin has also received acclaim as a director, with last year’s “The Trial of the Chicago 7” earning multiple Oscar nominations and this year’s “Being the Ricardos” already in the thick of the awards conversation. With three films under his belt, does Sorkin think he’s getting better behind the camera?
“I think it’s probably for others to decide that not for me,” Sorkin tells Gold Derby. “I can tell you I’m feeling more confident. More confident and yet the more you learn the more you discover you have to learn.”
SEETodd Black interview: ‘Being the Ricardos’ producer
Set during...
“I think it’s probably for others to decide that not for me,” Sorkin tells Gold Derby. “I can tell you I’m feeling more confident. More confident and yet the more you learn the more you discover you have to learn.”
SEETodd Black interview: ‘Being the Ricardos’ producer
Set during...
- 12/8/2021
- by Christopher Rosen
- Gold Derby
The golden age of television is echoed in Amazon’s Being the Ricardos, which follows Lucille Ball (played by Nicole Kidman) and Desi Arnaz (Javier Bardem) during one week of production on the iconic ’50s sitcom I Love Lucy. “We wanted to pay homage to the era,” says cinematographer Jeff Cronenweth — a two-time Oscar nominee for The Social Network and The Girl With the Dragon Tattoo — of his early conversations with writer-director Aaron Sorkin.
For production designer Jon Hutman, who won an Emmy for Sorkin’s political drama The West Wing, research also included stops at the Hollywood Heritage Museum in ...
For production designer Jon Hutman, who won an Emmy for Sorkin’s political drama The West Wing, research also included stops at the Hollywood Heritage Museum in ...
- 12/7/2021
- The Hollywood Reporter - Film + TV
Aaron Sorkin and Oscar-nominated cinematographer Jeff Cronenweth first became acquainted on the set of David Fincher’s “The Social Network.”
“The last shot of ‘The Social Network,’ Fincher wanted to avoid the emotional goodbyes to everybody and left with one insert to be shot that Aaron directed and I photographed,” Cronenweth tells Gold Derby in the “Meet the Experts” cinematographers panel. “That was really our first director-cinematographer collaboration back at the end of ‘The Social Network.’”
More than a decade later, Sorkin and Cronenweth have reunited in an official capacity as director and cinematographer for “Being the Ricardos,” Sorkin’s third film as a director and his first with Cronenweth behind the camera.
“He loved his experiences on ‘Molly’s Game’ and with Phedon [Papamichael] on ‘Chicago 7’ and Phedon got an Oscar nomination on that, it was a beautifully photographed film,” Cronenweth says. “But it was predominantly stuck in a courtroom. My...
“The last shot of ‘The Social Network,’ Fincher wanted to avoid the emotional goodbyes to everybody and left with one insert to be shot that Aaron directed and I photographed,” Cronenweth tells Gold Derby in the “Meet the Experts” cinematographers panel. “That was really our first director-cinematographer collaboration back at the end of ‘The Social Network.’”
More than a decade later, Sorkin and Cronenweth have reunited in an official capacity as director and cinematographer for “Being the Ricardos,” Sorkin’s third film as a director and his first with Cronenweth behind the camera.
“He loved his experiences on ‘Molly’s Game’ and with Phedon [Papamichael] on ‘Chicago 7’ and Phedon got an Oscar nomination on that, it was a beautifully photographed film,” Cronenweth says. “But it was predominantly stuck in a courtroom. My...
- 11/19/2021
- by Christopher Rosen
- Gold Derby
Watch our individual interviews with four of Hollywood’s leading cinematographers in competition for the Oscar and other major awards this derby season: Jeff Cronenweth (‘Being the Ricardos”), Haris Zambarloukos (“Belfast”), Linus Sandgren (“No Time to Die”) and Ari Wegner (“The Power of the Dog”). The Q&As are followed by a lively group roundtable chat moderated by Gold Derby’s Creative and Digital Director Chris Rosen.
- 11/17/2021
- by Tom O'Neil
- Gold Derby
Four top cinematographers will reveal secrets behind their projects when they join Gold Derby’s special “Meet the Experts” Q&a event with 2022 Oscar and guild contenders. Each person from these films will participate in two video discussions to premiere on Tuesday, November 16, at 5:00 p.m. Pt; 8:00 p.m. Et. We’ll have a one-on-one with our senior editor Christopher Rosen and a roundtable chat with all of the group together.
RSVP today to this specific event by clicking here to book your reservation. Or click here to RSVP for our entire ongoing panel series of 17 panels in November and December. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Experts” panel welcomes the following 2022 awards contenders:
“Being the Ricardos”: Jeff Cronenweth
Synopsis: Follows Lucy and Desi as they face a crisis that could end their careers and...
RSVP today to this specific event by clicking here to book your reservation. Or click here to RSVP for our entire ongoing panel series of 17 panels in November and December. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Experts” panel welcomes the following 2022 awards contenders:
“Being the Ricardos”: Jeff Cronenweth
Synopsis: Follows Lucy and Desi as they face a crisis that could end their careers and...
- 11/9/2021
- by Chris Beachum
- Gold Derby
In the wake of Disney’s record breaking Labor Day weekend with Shang-Chi and the Legend of the Ten Rings, the No .1 movie circuit in the world, AMC Theatres, is launching the first ever $25M+ multi-media ad campaign “AMC Theatres. We Make Movies Better” featuring Oscar winner Nicole Kidman.
It’s hard to think of the last time –or ever– when a national movie chain literally ran network TV spots to encourage those on the couch to get out, and head to the movies. It is rather unprecedented, and AMC has booked a big star here. Kidman is a smart choice for the TV spots, aimed right at the older female demographic, who has been hesitant to return to cinemas during the pandemic. Note, there reportedly hasn’t been a recorded Covid outbreak case at any movie theater worldwide, and coming out of CinemaCon, exhibitors wanted to make the message...
It’s hard to think of the last time –or ever– when a national movie chain literally ran network TV spots to encourage those on the couch to get out, and head to the movies. It is rather unprecedented, and AMC has booked a big star here. Kidman is a smart choice for the TV spots, aimed right at the older female demographic, who has been hesitant to return to cinemas during the pandemic. Note, there reportedly hasn’t been a recorded Covid outbreak case at any movie theater worldwide, and coming out of CinemaCon, exhibitors wanted to make the message...
- 9/8/2021
- by Anthony D'Alessandro
- Deadline Film + TV
AMC Theatres, the world’s largest cinema chain, is rolling out a $25 million advertising campaign to encourage people to get back to the movies.
To convey its message, AMC is turning to Nicole Kidman, who appears in a new commercial to wax poetic about the “magic” of the movies and that “indescribable feeling we get when the lights begin to dim and we go somewhere we’ve never been before.” The TV spots, which vary between 15, 30 and 60 seconds, were directed by Oscar nominated cinematographer Jeff Cronenweth and Tim Cronenweth and written by Academy Award nominee Billy Ray (“Captain Phillips”).
The campaign’s $25 million price tag is eye-popping because it’s more money than several major Hollywood releases have managed to scrape together at the domestic box office during the pandemic. Indeed, it’s been a trying time for cinema owners, who survived prolonged shutdowns and seemingly endless release date delays,...
To convey its message, AMC is turning to Nicole Kidman, who appears in a new commercial to wax poetic about the “magic” of the movies and that “indescribable feeling we get when the lights begin to dim and we go somewhere we’ve never been before.” The TV spots, which vary between 15, 30 and 60 seconds, were directed by Oscar nominated cinematographer Jeff Cronenweth and Tim Cronenweth and written by Academy Award nominee Billy Ray (“Captain Phillips”).
The campaign’s $25 million price tag is eye-popping because it’s more money than several major Hollywood releases have managed to scrape together at the domestic box office during the pandemic. Indeed, it’s been a trying time for cinema owners, who survived prolonged shutdowns and seemingly endless release date delays,...
- 9/8/2021
- by Rebecca Rubin
- Variety Film + TV
Amazon Studios began principal photography this week on Aaron Sorkin’s “Being the Ricardos” — a biopic about Lucille Ball and Desi Arnaz — and Tony Hale, Alia Shawkat and Jake Lacy have joined the film’s cast.
They join Nicole Kidman and Javier Bardem, who are playing the “I Love Lucy” stars, as well as J.K Simmons and Nina Arianda as William Frawley and Vivian Vance, who played Fred and Ethel on the classic sitcom.
Hale will play “I Love Lucy” executive producer and head writer Jess Oppenheimer, and Shawkat and Lacy will play the show’s longtime writing partners Madelyn Pugh and Bob Carroll Jr.
Also joining “Being the Ricardos” and rounding out the cast are Clark Gregg (“Agents of S.H.I.E.L.D.”), Nelson Franklin (“Veep”), John Rubinstein (“Family”), Linda Lavin (“The Good Wife”), Robert Pine (“CHiPs”) and Christopher Denham (“Billions”).
“Being the Ricardos” is written and directed by Sorkin and...
They join Nicole Kidman and Javier Bardem, who are playing the “I Love Lucy” stars, as well as J.K Simmons and Nina Arianda as William Frawley and Vivian Vance, who played Fred and Ethel on the classic sitcom.
Hale will play “I Love Lucy” executive producer and head writer Jess Oppenheimer, and Shawkat and Lacy will play the show’s longtime writing partners Madelyn Pugh and Bob Carroll Jr.
Also joining “Being the Ricardos” and rounding out the cast are Clark Gregg (“Agents of S.H.I.E.L.D.”), Nelson Franklin (“Veep”), John Rubinstein (“Family”), Linda Lavin (“The Good Wife”), Robert Pine (“CHiPs”) and Christopher Denham (“Billions”).
“Being the Ricardos” is written and directed by Sorkin and...
- 3/29/2021
- by Brian Welk
- The Wrap
Amazon Studios has announced the start of principal photography on writer/director Aaron Sorkin’s next drama film, “Being the Ricardos.” Filming started this week in Los Angeles. Nicole Kidman and Javier Bardem star as real-life couple Lucille Ball and Desi Arnaz, the faces behind the classic 1950s TV sitcom “I Love Lucy,” which centered on the happy but idiosyncratic marriage of Lucille and Ricky Ricardo.
Working in a confined timeframe similar to Sorkin’s script for “Steve Jobs,” “Being the Ricardos” unfolds during one production week of “I Love Lucy” — starting with the Monday table read through Friday filming with a live audience — when Lucy and Desi face a crisis that could end their careers, as well as their marriage.
Kidman stars as Ball opposite fellow Oscar winner Bardem as her husband Desi Arnaz, the Cuban-American actor, musician, and president of their television production company, Desilu Productions.
Kidman ended up replacing Cate Blanchett,...
Working in a confined timeframe similar to Sorkin’s script for “Steve Jobs,” “Being the Ricardos” unfolds during one production week of “I Love Lucy” — starting with the Monday table read through Friday filming with a live audience — when Lucy and Desi face a crisis that could end their careers, as well as their marriage.
Kidman stars as Ball opposite fellow Oscar winner Bardem as her husband Desi Arnaz, the Cuban-American actor, musician, and president of their television production company, Desilu Productions.
Kidman ended up replacing Cate Blanchett,...
- 3/29/2021
- by Ryan Lattanzio
- Indiewire
Russell Crowe is set to star as artist Mark Rothko in a film titled “Rothko” and directed by Sam Taylor-Johnson.
Crowe will lead an ensemble cast that includes Aaron Taylor-Johnson, Michael Stuhlbarg, Jared Harris and Aisling Franciosi, and the film will be set in the art world about Rothko’s daughter’s attempt to preserve her father’s legacy. Franciosi, who broke out in “The Nightingale,” will play Crowe’s daughter in the film.
Rothko is a Latvian artist known for his color field paintings of irregular, painterly rectangles, which he mainly produced between 1949-1970. Taylor-Johnson’s film is adapted from a book by Lee Seldes called “The Legacy of Mark Rothko” about how Kate Rothko fought corrupt, elitist power brokers who have conspired to sell her father’s art fraudulently after he passes. She became an orphan at 19 and a mother to her 7-year-old brother, and with few resources...
Crowe will lead an ensemble cast that includes Aaron Taylor-Johnson, Michael Stuhlbarg, Jared Harris and Aisling Franciosi, and the film will be set in the art world about Rothko’s daughter’s attempt to preserve her father’s legacy. Franciosi, who broke out in “The Nightingale,” will play Crowe’s daughter in the film.
Rothko is a Latvian artist known for his color field paintings of irregular, painterly rectangles, which he mainly produced between 1949-1970. Taylor-Johnson’s film is adapted from a book by Lee Seldes called “The Legacy of Mark Rothko” about how Kate Rothko fought corrupt, elitist power brokers who have conspired to sell her father’s art fraudulently after he passes. She became an orphan at 19 and a mother to her 7-year-old brother, and with few resources...
- 3/5/2021
- by Brian Welk
- The Wrap
Sam Taylor-Johnson (Fifty Shades Of Grey) is to direct starry drama Rothko, which will chart how Kate Rothko, the daughter of revered U.S. painter Mark Rothko, was drawn into a well-publicised legal battle to honor her father’s legacy.
We can reveal that the film will star rising actress Aisling Franciosi (The Nightingale), Oscar-winner Russell Crowe (A Beautiful Mind), Golden Globe-winner Aaron Taylor-Johnson (Nocturnal Animals), Golden Globe-nominee Michael Stuhlbarg (Call Me By Your Name) and BAFTA-winner Jared Harris (Chernobyl).
Crowe will play artist Mark Rothko and Franciosi will portray his daughter Kate.
Rocket Science has begun sales at the virtual EFM where the project is among the marquee packages. CAA Media Finance and Endeavor Content are co-repping U.S. rights.
Adapted from the book The Legacy Of Mark Rothko by Lee Seldes, the screenplay by Lara Wood focuses on the true story of the ‘Rothko case’, the protracted legal...
We can reveal that the film will star rising actress Aisling Franciosi (The Nightingale), Oscar-winner Russell Crowe (A Beautiful Mind), Golden Globe-winner Aaron Taylor-Johnson (Nocturnal Animals), Golden Globe-nominee Michael Stuhlbarg (Call Me By Your Name) and BAFTA-winner Jared Harris (Chernobyl).
Crowe will play artist Mark Rothko and Franciosi will portray his daughter Kate.
Rocket Science has begun sales at the virtual EFM where the project is among the marquee packages. CAA Media Finance and Endeavor Content are co-repping U.S. rights.
Adapted from the book The Legacy Of Mark Rothko by Lee Seldes, the screenplay by Lara Wood focuses on the true story of the ‘Rothko case’, the protracted legal...
- 3/5/2021
- by Andreas Wiseman
- Deadline Film + TV
Everything with David Fincher is intention, precision, and exacting qualities. And some of that intention is the filmmaker knowing what he wants and surrounding himself with some amazing talents. Over the years, that’s included giants like Academy Award-winning composers like Howard Shore and Trent Reznor and Atticus Ross, legendary directors of photography like Harris Savides, Darius Khondji, and Jeff Cronenweth, to name just a few.
Continue reading ‘Mank’: David Fincher’s Longtime Editor Kirk Baxter Gets The Spotlight In ‘Precision Cutting’ [Video Exclusive] at The Playlist.
Continue reading ‘Mank’: David Fincher’s Longtime Editor Kirk Baxter Gets The Spotlight In ‘Precision Cutting’ [Video Exclusive] at The Playlist.
- 2/19/2021
- by Rodrigo Perez
- The Playlist
Mank BTS: Picture: Miles CristIt’s impressive when a Director of Photography’s first fiction feature is with David Fincher, notorious for his exacting eye in terms of both working methods and stringent aesthetics. But before Mank—Fincher’s passion project on Herman J. Mankiewicz and the writing of Citizen Kane—Erik Messerschmidt, Asc had been a part of Fincher’s team on both seasons of Mindhunter and even earlier as a gaffer on Gone Girl for Dp Jeff Cronenweth. On Mindhunter, Messerschmidt’s camera infused the bloodless institutional interiors of its serial-killer/FBI interview set pieces with subtly vulnerable undertones, hewing to a Fincher playbook of visual control that telegraphs barely contained chaos.Mank posed its own challenge with the director’s dream of making a black-and-white period picture in 2020, a vision of authenticity that is something of a chimera in cinema’s digital age. The story shuttles between...
- 12/4/2020
- MUBI
Cracking the surreal visual code of the Simon Stålenhag paintings that inspired “Tales from the Loop” was hard enough for veteran cinematographer Jeff Cronenweth. Their strange aura of a picnic tableau with discarded robots in barren landscapes had to somehow connect with showrunner Nathaniel Halpern’s sci-fi series about restoring humanity in a community deprived of love and intimacy. But the Emmy-nominated Cronenweth made a breakthrough while on location in Winnipeg by shooting exterior night scenes… in subzero temperatures… during Magic Hour.
“It was a problem that we were dealt from the very beginning because of the way the script’s written and the way time passes and having so little time at night to shoot with minors,” Cronenweth said. “But I was amazed at the amount of time we had at dusk once the sun shadows had become soft enough or dropped below the horizon line.”
He proposed turning...
“It was a problem that we were dealt from the very beginning because of the way the script’s written and the way time passes and having so little time at night to shoot with minors,” Cronenweth said. “But I was amazed at the amount of time we had at dusk once the sun shadows had become soft enough or dropped below the horizon line.”
He proposed turning...
- 8/28/2020
- by Bill Desowitz
- Indiewire
The entrance of a number of newcomers could shake up long-time favorites’ odds to win at this year’s Creative Arts Emmy ceremonies.
Here, Variety takes a closer look at six of those important races.
Main Title Design
This is one category in which the nominees get to be wholly creative when it comes to visual styles. They use live-action elements, animation, photography or some combination thereof to quickly encapsulate the themes of the show that will follow. It is no easy feat, and neither is comparing such unique pieces in order to reward one over the other. Those who like minimalism will likely gravitate toward the moving, colored dots of Apple TV Plus’ “The Morning Show,” while voters looking for metaphors about compartmentalization and the pieces that make a man will select Netflix’s “The Politician,” while those who prefer symbolic images will finally award two-time prior nominee HBO’s “Westworld.
Here, Variety takes a closer look at six of those important races.
Main Title Design
This is one category in which the nominees get to be wholly creative when it comes to visual styles. They use live-action elements, animation, photography or some combination thereof to quickly encapsulate the themes of the show that will follow. It is no easy feat, and neither is comparing such unique pieces in order to reward one over the other. Those who like minimalism will likely gravitate toward the moving, colored dots of Apple TV Plus’ “The Morning Show,” while voters looking for metaphors about compartmentalization and the pieces that make a man will select Netflix’s “The Politician,” while those who prefer symbolic images will finally award two-time prior nominee HBO’s “Westworld.
- 8/11/2020
- by Danielle Turchiano
- Variety Film + TV
Damon Lindelof’s zeitgeist-grabbing “Watchmen” was the big Emmy crafts winner on Tuesday with 15 nominations for HBO. However, “The Mandalorian,” Jon Favreau’s breakout “Star Wars” series for Disney+, scored 12 craft nods, while Amazon Prime Video’s “The Marvelous Mrs. Maisel” grabbed 10, and Netflix’s “Ozark” and HBO’s “Westworld” each grabbed nine.
Netflix also fared well with Ryan Murphy’s “Hollywood,” which earned eight noms, while “The Crown” and “Stranger Things” both secured seven. Hulu’s “The Handmaid’s Tale” nabbed six noms, and HBO’s “Succession” and “Euphoria” took five along with CBS Access’ “Star Trek: Picard.” And FX’s “Mrs. America” and “Devs” managed four noms, as did Netflix’s “Space Force,” Murphy’s “Pose” and “American Horror Story: 1984” (both from FX), and Neon’s “Apollo 11” documentary. Snubbed in the crafts domain, though, were the lavish period pieces “Belgravia” (Epix), “Dickinson” (Apple TV+), and “The Great” (Hulu). On the other hand,...
Netflix also fared well with Ryan Murphy’s “Hollywood,” which earned eight noms, while “The Crown” and “Stranger Things” both secured seven. Hulu’s “The Handmaid’s Tale” nabbed six noms, and HBO’s “Succession” and “Euphoria” took five along with CBS Access’ “Star Trek: Picard.” And FX’s “Mrs. America” and “Devs” managed four noms, as did Netflix’s “Space Force,” Murphy’s “Pose” and “American Horror Story: 1984” (both from FX), and Neon’s “Apollo 11” documentary. Snubbed in the crafts domain, though, were the lavish period pieces “Belgravia” (Epix), “Dickinson” (Apple TV+), and “The Great” (Hulu). On the other hand,...
- 7/28/2020
- by Bill Desowitz
- Indiewire
For the ambitious productions in the current golden age of television, it's not uncommon to see filmmakers crossing over between features and shortform narratives — and that certainly holds true in cinematography.
This season's Emmy contenders include Frederick Elmes, whose credits with longtime collaborator David Lynch include Blue Velvet and who earlier this year received the American Society of Cinematographers' Lifetime Achievement Award. He's also a 2017 Emmy winner for The Night Of. Among his fellow Emmy hopefuls are Jeff Cronenweth (son of Blade Runner Dp Jordan Cronenweth), a longtime collaborator with David Fincher who earned Oscar nominations for the ...
This season's Emmy contenders include Frederick Elmes, whose credits with longtime collaborator David Lynch include Blue Velvet and who earlier this year received the American Society of Cinematographers' Lifetime Achievement Award. He's also a 2017 Emmy winner for The Night Of. Among his fellow Emmy hopefuls are Jeff Cronenweth (son of Blade Runner Dp Jordan Cronenweth), a longtime collaborator with David Fincher who earned Oscar nominations for the ...
For the ambitious productions in the current golden age of television, it's not uncommon to see filmmakers crossing over between features and shortform narratives — and that certainly holds true in cinematography.
This season's Emmy contenders include Frederick Elmes, whose credits with longtime collaborator David Lynch include Blue Velvet and who earlier this year received the American Society of Cinematographers' Lifetime Achievement Award. He's also a 2017 Emmy winner for The Night Of. Among his fellow Emmy hopefuls are Jeff Cronenweth (son of Blade Runner Dp Jordan Cronenweth), a longtime collaborator with David Fincher who earned Oscar nominations for the ...
This season's Emmy contenders include Frederick Elmes, whose credits with longtime collaborator David Lynch include Blue Velvet and who earlier this year received the American Society of Cinematographers' Lifetime Achievement Award. He's also a 2017 Emmy winner for The Night Of. Among his fellow Emmy hopefuls are Jeff Cronenweth (son of Blade Runner Dp Jordan Cronenweth), a longtime collaborator with David Fincher who earned Oscar nominations for the ...
Listen To All Our Hollywood News Podcasts Happy Sunday, ladies and gentlemen! Once more, before we get down to business of self promotion, it’s important to remember what’s important during times like these. I do sincerely hope all of you are staying safe and sane, despite what’s going on in the world. As a continuing distraction during the Coronavirus pandemic, we want you to relax and enjoy some audio goodness. So, yes, we’re taking one more opportunity to give all of our readers a friendly reminder about the podcast we have here at Hollywood News. Easy to enjoy in short bursts, as the episodes are only about ten minutes long, we have plenty of Academy Award coverage from last year, and now that Oscar season is over, we’ve been moving over into more reviews and interviews, as seen a month or so ago with our...
- 6/14/2020
- by Joey Magidson
- Hollywoodnews.com
Listen To All Our Hollywood News Podcasts As we no doubt should, before we get down to business of self promotion, it’s important to remember what’s important during times like these. I do sincerely hope all of you are staying safe and sane, despite what’s going on in the world. As a continuing distraction during the Coronavirus pandemic, we want you to relax and enjoy some audio goodness. So, yes, we’re taking one more opportunity to give all of our readers a friendly reminder about the podcast we have here at Hollywood News. Easy to enjoy in short bursts, as the episodes are only about ten minutes long, we have plenty of Academy Award coverage from last year, and now that Oscar season is over, we’ve been moving over into more reviews and interviews, as seen a month or so ago with our Emily V. Gordon and Kumail Nanjiani chat,...
- 5/31/2020
- by Joey Magidson
- Hollywoodnews.com
Listen To All Our Hollywood News Podcasts Happy Sunday, everyone! Once again, before we get down to business of self promotion, first things first. I do sincerely hope all of you are staying safe and sane in these trying times. As a continuing distraction during the Coronavirus pandemic, we want you to enjoy some audio goodness. So, yes, we’re taking one more opportunity to give all of our readers a friendly reminder about the podcast we have here at Hollywood News. Easy to enjoy in short bursts, as the episodes are only about ten minutes long, we have plenty of Academy Award coverage from last year, and now that Oscar season is over, we’ve been moving over into more reviews and interviews, as seen a month or so ago with our Emily V. Gordon and Kumail Nanjiani chat, as well a handful of others, including actors like F. Murray Abraham,...
- 5/17/2020
- by Joey Magidson
- Hollywoodnews.com
Listen To All Our Hollywood News Podcasts Once again, before we get down to business of self promotion, first things first. I do sincerely hope all of you are staying safe and sane in these trying times. As a continuing distraction during the Coronavirus pandemic, we want you to enjoy some audio goodness. So, yes, we’re taking one more opportunity to give all of our readers a friendly reminder about the podcast we have here at Hollywood News. Easy to enjoy in short bursts, as the episodes are only about ten minutes long, we have plenty of Academy Award coverage from last year, and now that Oscar season is over, we’ve been moving over into more reviews and interviews, as seen a month or so ago with our Emily V. Gordon and Kumail Nanjiani chat, as well a handful of others, including actors like John Magaro and Sam Richardson,...
- 5/3/2020
- by Joey Magidson
- Hollywoodnews.com
Listen To All Our Hollywood News Podcasts Again, before we get down to business, first things first. I sincerely hope all of you are staying safe and sane in these trying times. As a continuing distraction, we’re taking one more opportunity to give all of our readers a friendly reminder about the podcast we have here at Hollywood News. Easy to enjoy in short bursts, as the episodes are only about ten minutes long, we have plenty of Academy Award coverage from last year, and now that Oscar season is over, we’ve been moving over into more reviews and interviews, as seen a month or so ago with our Emily V. Gordon and Kumail Nanjiani chat, as well a handful of others, including actors like John Magaro and Sam Richardson, as well as cinematographer Jeff Cronenweth. Earlier this week, we chatted with filmmaker Drake Doremus. Be sure to...
- 4/19/2020
- by Joey Magidson
- Hollywoodnews.com
Two-time Academy Award-nominated cinematographer Jeff Cronenweth has been a part of quite a few memorable projects. After shooting music videos for Nine Inch Nails, George Michael, Taylor Swift, and David Bowie, and collaborating with director David Fincher on several projects, Cronenweth is now venturing into television for the first time, collaborating with Mark Romanek on the latest Amazon Prime sci-fi series “Tales from the Loop.” In a nearly half-hour-long interview, Cronenweth discussed what makes for a good filmmaking collaboration and why David Fincher doesn’t bring his film crew over to TV.
Continue reading Listen: Dp Jeff Cronenweth Talks Working With Mark Romanek On ‘Tales From The Loop,’ David Fincher & More at The Playlist.
Continue reading Listen: Dp Jeff Cronenweth Talks Working With Mark Romanek On ‘Tales From The Loop,’ David Fincher & More at The Playlist.
- 4/4/2020
- by Rafael Motamayor
- The Playlist
Cinematography is a true art form. To compose a memorable shot is something that one really does need a skill for. That doesn’t even take into account how a cinematographer must work well with a director, have an understanding of their camera, and an infinite number of other assets necessary to help make a movie succeed. Earlier this week, we got a chance to talk with two time Academy Award nominated cinematographer Jeff Cronenweth, who was able to detail just some of what goes into being a quality Dp. Cronenweth has been cited by the Academy twice. Both times, collaborations with director David Fincher received Oscar nominations in Best Cinematography. Tomorrow, he ventures into television for the first time, collaborating with filmmaker Mark Romenek on an episode of the new Amazon Prime science fiction series Tales from the Loop. Generously chatting on the phone for nearly a half hour,...
- 4/2/2020
- by Joey Magidson
- Hollywoodnews.com
David Fincher’s The Girl with the Dragon Tattoo, the American adaptation of Stieg Larsson’s 2005 bestseller, was most successful as a mood piece, one that provided brooding, wintry surfaces masquerading the impression of depth. Though aided by a compelling turn from Rooney Mara, who transcended the atmospherics by imbuing protagonist Lisbeth Salander with deadpan fury, Dragon Tattoo was hobbled by the source material’s exposition-laden mystery narrative, which was unable to absorb on its own accord even with the best procedural director currently working in Hollywood behind the camera. Fincher makes the film watchable because he excels at elevating this type of work, but sometimes the work remains the work.
Yet, much of the film’s visual language—Salander’s characterization, gray Swedish exteriors, feminist-driven vigilante justice, casual sadism—have become effortlessly iconic in the interim. It’s no surprise that Hollywood would try to revamp the series and...
Yet, much of the film’s visual language—Salander’s characterization, gray Swedish exteriors, feminist-driven vigilante justice, casual sadism—have become effortlessly iconic in the interim. It’s no surprise that Hollywood would try to revamp the series and...
- 10/26/2018
- by The Film Stage
- The Film Stage
David Fincher is one of the most distinctive visual storytellers working today. On his new Netflix’s show “Mindhunter,” the director’s well-established visual style and use of film language is carried throughout the entire Season 1 arc, despite Fincher having only directed four of the ten episodes himself. IndieWire recently talked the show’s principal cinematographer Erik Messerschmidt – who was once Fincher’s gaffer, and shot 90% of “Mindhunter” – about what defines the cinematic style of the great auteur and how he built off the look of “Zodiac” to create something we aren’t use to seeing on TV.
The Color Palette
The imagery in a Fincher film is grounded in realism, but it’s a dark, stylized realism. This is most notable in the director’s use of colors. “[David] has an aversion to saturated colors and magenta,” said Messerschmidt in an interview. “The show has a desaturated green-yellow look, for sure,...
The Color Palette
The imagery in a Fincher film is grounded in realism, but it’s a dark, stylized realism. This is most notable in the director’s use of colors. “[David] has an aversion to saturated colors and magenta,” said Messerschmidt in an interview. “The show has a desaturated green-yellow look, for sure,...
- 10/19/2017
- by Chris O'Falt
- Indiewire
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd amassed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran D.P of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something more surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran D.P of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something more surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Channeling David Fincher: How ‘House of Cards’ Created a ‘Hyper’ Look For Its Most Ambitious Episode
Television shows establish the foundation of their look and visual language with their pilot episode. This is especially true for “House of Cards,” in which one of Hollywood’s most distinct visual storytellers, David Fincher, served as both executive producer and the director of the first two episodes. From its precise and dramatic compositions to its monochromatic color palette to the often dark, low source light photography, “House of Cards” embodies some of the most recognizable elements of Fincher’s style.
Read More: ‘House of Cards’ Season 4 Might Be the Best Season Yet, But It Won’t Be Your Favorite
Which is precisely why cinematographer David M. Dunlap faced a challenge when the show’s forty-fifth episode called for something very different. In the episode, President Frank Underwood (Kevin Spacey) is unconscious and fighting for his life in a hospital, having been shot at the end of previous episode. A...
Read More: ‘House of Cards’ Season 4 Might Be the Best Season Yet, But It Won’t Be Your Favorite
Which is precisely why cinematographer David M. Dunlap faced a challenge when the show’s forty-fifth episode called for something very different. In the episode, President Frank Underwood (Kevin Spacey) is unconscious and fighting for his life in a hospital, having been shot at the end of previous episode. A...
- 8/17/2016
- by Chris O'Falt
- Indiewire
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