Scenes from “Afterlife.” (Photo by Emily Kai Block.)
Cinematographer Evan Prosofsky and director Emily Kai Bock talked at length about dreams while in prep for Arcade Fire’s wildly popular music video “Afterlife.”
“We kind of resented the thought that dreams have to be sepia-toned and Gaussian-blurred,” says Prosofsky.
A scene from Haven. (Photo: Michael Tompkins)
The Syfy series Haven, based on the Stephen King novella The Colorado Kid, takes viewers to the mythical town of Haven, Maine. There the series follows FBI agent Audrey Parker (Emily Rose), who arrives in town to follow a routine case but soon finds herself caught up in the town’s many mysteries. Audrey quickly discovers that Haven is a longtime refugee for people affected by a range of supernatural afflictions known as “Troubles,” and she herself has a surprising connection to the town.
The series, which just completed its fourth season, is shot entirely in Nova Scotia, Canada, in and around the town of Chester. When the decision was made to shoot in Nova Scotia, Executive Producer Shawn Piller (Stephen King’s Dead Zone, Greek) turned to cinematographer Eric Cayla, CSC, whom he had worked with on a previous series.
Ed Norton in The Grand Budapest Hotel (Photo By Martin Scali)
Wes Anderson’s string of idiosyncratic, personal films includes Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Moonrise Kingdom and now, The Grand Budapest Hotel. At the camera for all of these films was Robert Yeoman, ASC, and in each case, they chose to tell their stories on film.
“I’m such a believer in film,” says Yeoman, whose resume also includes Drugstore Cowboy, Dogma, The Squid and the Whale, and Bridesmaids. “I prefer the look and the on-set discipline. I find that when shooting digitally, the camera doesn’t cut, and people’s attention seems to wander. I look around the set and everyone’s on their phones. The process has been polluted. I think film causes people to concentrate on the shot. When the camera is rolling, everyone knows the importance of the moment and is paying attention. This energy is translated onto the film.”
David Dart, NFL Films staff cinematographer
The questions are in and the answers are back! A big Thank You to NFL Films cinematographer Dave Dart for taking the time during playoffs to answer questions from our readers! You all came up with some great ones with topics including focus pulling, film stock preference, shooting style, and the romanticism of football on film.
There's a reason NFL Films has won over 100 Emmy® awards, and here's a sneak peak at how they do it!
Oscar Isaac stars in Inside Llewyn Davis. Photo: Alison Rosa / (C) 2012 Long Strange Trip LLC.
For the wintry, subdued tones of Inside Llewyn Davis, writers-directors Joel and Ethan Coen turned to Bruno Delbonnel, ASC, AFC. Delbonnel’s elegiac work on the picture is nominated for an Oscar®, BAFTA, and ASC Outstanding Achievement Award, and he took home the Bronze Frog at the 2013 Camerimage Festival. He has earned three previous Oscar® nominations for Amelie, A Very Long Engagement, Harry Potter and the Half-Blood Prince. In a career spanning more than 20 narrative films, Delbonnel has shot film on every project but one.
Inside Llewyn Davis was reportedly made for a relatively modest $11 million, over the course of 42 days, mostly on practical locations. The filmmakers envisioned a tale infused with sadness and regret, set in the folk music milieu of Greenwich Village in 1960. In the story, talented singer-songwriter Llewyn Davis endures a variety of difficulties – such as the recent loss of his duo partner to suicide, and the inadvertent escape of his benefactor’s cat. Trying desperately to make it big, he travels to Chicago for a last-ditch audition for an influential promoter.