(L-R) Keira Knightley, Matthew Beard, Matthew Goode, Benedict Cumberbatch, and Allen Leech star in The Imitation Game. (photo by Jack English)
Mathematician, cryptanalyst and computer science pioneer Alan Turing was tasked by British intelligence during World War II to break the Germans’ nearly impenetrable message coding system – the Enigma machine. His success enabled the Allies to turn the war tide, but tragedy befell Turing and he ultimately committed suicide at the age of 41.
The Weinstein Company brings Turing’s complex story to the screen in The Imitation Game, starring Benedict Cumberbatch, and featuring Keira Knightley, Mark Strong and Matthew Goode. To capture the visuals, director Morten Tyldum selected Óscar Faura (The Orphanage, Anna) based on his photography of the 2012 Thailand tsunami tale The Impossible.
Robert Downey Jr. and Robert Duvall in "The Judge" a Warner Bros. Pictures release. Photo by Claire Folger. Copyright: © 2013 WARNER BROS. ENTERTAINMENT INC. ALL RIGHTS RESERVED
Janusz Kaminski is a two-time OSCAR® winner who is best known for his many collaborations with Steven Spielberg, including Schindler’s List, Saving Private Ryan, Minority Report, Catch Me If You Can, Munich, War Horse and Lincoln. Kaminski’s credits also include such memorable films as The Diving Bell and the Butterfly, Jerry Maguire and How Do You Know.
When Kaminski chooses a project to shoot outside of his collaboration with Spielberg, he is selective. Recently, he brought his keen eye and gift for visual storytelling to The Judge, a feature film for director David Dobkin. The film opened the 2014 Toronto International Film Festival.
Donald M. Morgan, ASC on the set of The Red House (photo © 2014 Peter Switzer)
Written and directed by Jiaqi Lin, a Chinese film student at the New York Film Academy, the short film The Red House is the story of a 25-year-old prostitute, Fangfang, and her struggle to save enough of her earnings to buy back her freedom. Set in 1915 rural China, the sudden arrival of a 6-year-old child, Amei, being sold to The Red House by her desperate parents soon changes things. The brothel’s madam puts Fangfang in charge of Amei’s training, including the painful ritual of binding her feet to keep them small. Fangfang, who became a prostitute in very much the same way, soon realizes she cannot let it continue, and decides to use her savings to buy Amei’s contract and her freedom … something she now will never have.
Shot by Emmy®-winning cinematographer Donald M. Morgan, ASC, The Red House utilized Kodak film to capture the drama and angst of the story.
writer/director Grant Scicluna
Hurt's Rescue is the latest short film by writer/director Grant Scicluna and producer Jannine Barnes. Based on Todd Grimson's story of the same name, Hurt's Rescue is a short film that explores the moral maze of masochism and negotiation. It is a UK-Australian co-production funded by the prestigious Iris Prize in Wales. The Iris Prize, supported by the Michael Bishop Foundation, is the world's largest gay and lesbian prize and offers the winning filmmaker £25,000 in cash to make their next film. Scicluna's film The Wilding won the prize in 2012 and he was thrilled to have the opportunity to make his next film in Cardiff taking DOP Laszlo Baranyai, ACS HCS along with him.
The decision to shoot on film was an easy one. "Shooting in black and white, film was the natural choice for Hurt's Rescue. I was after the maximum depth of detail and levels of tonality that only film can give" states Scicluna. Adds Laszlo "To achieve a rich, atmospheric and natural B&W look, film was the only logical choice".
Susan Sarandon and Melissa McCarthy in a scene from Tammy (Photo by Michael Tackett.)
When a sample film clip on screen drew a collective, audible gasp in the screening room, director of photography Russ Alsobrook, ASC knew he would be shooting the comedy Tammy on KODAK Film. The cinematographer and the film’s principals had been at Burbank-based lab/post house FotoKem during preproduction doing digital versus film origination comparisons.
“It’s like we’ve forgotten how great film looks when you see it in comparison,” Alsobrook remarks. “We looked at each other, and it was a done deal. There was no question we were going to shoot fi lm. It has a rich, creamy look to it that you just can’t get any other way.”