JOAQUIN PHOENIX on the set of Warner Bros. Pictures' and IAC Films' "INHERENT VICE," a Warner Bros. Pictures release. Photo Credit: Wilson Webb Copyright: © 2014 WARNER BROS. ENTERTAINMENT INC. AND RATPAC-DUNE ENTERTAINMENT LLC ALL RIGHTS RESERVED
The circa 1970 Greater Los Angeles of Inherent Vice is a land of contradicting moods: sprawling yet claustrophobic; sun-lit, yet disorienting. Paul Thomas Anderson’s seventh film is an adaptation of Thomas Phynchon’s seventh novel.
The story follows California detective “Doc” Sportello, played by Joaquin Phoenix, as he investigates a series of comedy-tinged mysteries. Anderson directed the film in collaboration with a close-knit team who has worked together on many of his movies, including cinematographer Robert Elswit, ASC, an Oscar® winner for There Will Be Blood.
Paul McCartney’s newest music video, “Early Days,” may not be what you’d expect from the title – a nostalgic montage of The Beatles on American Bandstand or The Ed Sullivan Show. Rather, it is a throwback of sorts, a trip down memory lane of a different life, another musician’s experience. The video was directed by Vince Haycock and shot by Evan Prosofsky.
As one of the world’s most successful composers and performers of all time, McCartney wanted a video that reflected the nostalgia he had for an older time as an aspiring musician with John Lennon. Haycock took inspiration in that to create a film about what he calls, "the spirit and inspiration young musicians find in each other, set amid the Mississippi Delta blues, a time period that heavily inspired the Beatles."
Steve Carell and Channing Tatum star in Foxcatcher. Photo by Scott Garfield, Courtesy of Sony Pictures Classics
Based on true events, Foxcatcher is a rich and moving story of brotherly love, misguided loyalty, and the emotional bankruptcy that can accompany great wealth and power. Bennett Miller, director of Capote and Moneyball, spent years researching this complex story. His fourth turn at the helm has already garnered a Best Director Award at the 2014 Cannes Film Festival. Miller’s commitment to conveying the gravity and intricacy of the story led him to director of photography Greig Fraser, ASC, ACS (Snow White and the Huntsman, Killing Them Softly, Let Me In).
The story follows Olympic Gold Medal-winning wrestler Mark Schultz (Channing Tatum), who is struggling in obscurity and poverty in Wisconsin when he is invited by wealthy heir John du Pont (Steve Carell) to move on to his lavish estate to form a team and to train for the 1988 Seoul Olympics. Schultz seizes the opportunity, eager to step out of the shadow of his revered older brother Dave (Mark Ruffalo), a prominent wrestling coach and Gold Medal winner himself.
Matthew McConaughey in INTERSTELLAR, from Paramount Pictures and Warner Brothers Pictures, in association with Legendary Pictures.
The science-fiction genre gets an infusion from Christopher Nolan with the release of Interstellar, an awe-inspiring tale of space exploration.Inspired by 2001: A Space Odyssey, the movie stars Matthew McConaughey, Anne Hathaway and Jessica Chastain. It follows the human and scientific choices that contribute to the discovery of a wormhole that is used to surpass the limitations of human space travel and conquer the vast distances involved in an interstellar voyage.
Nolan and cinematographer Hoyte van Hoytema, FSF, NSC chose KODAK VISION3 film in 35mm anamorphic film and 65mm IMAX to capture the story. Nolan told the LA Times, “I’m a fan of any technological innovation, but for me, it’s going to have to exceed what came before -- and it hasn’t yet.”
(L-R) Jyoti Amge as Ma Petite, Naomi Grossman as Pepper. CR: Michele K. Short/FX
For the better part of a decade now, Ryan Murphy has been innovating the way audiences look at small screen entertainment. As the creator of shows like Popular, Nip/Tuck, Glee,and The New Normal, Murphy has established a distinctive brand of filmmaking that’s faster, louder, and more attention-grabbing than its television contemporaries, and one that puts compelling visuals on par with addictive storylines. Case in point: American Horror Story, Murphy’s television show/miniseries hybrid that plays more like a horror anthology with a new theme each season. In season one it was Murder House, which was followed by Asylum and Coven. And this fall, Freak Show premiered with what Murphy describes as “the most terrifying clown of all time.”
Michael Goi, ASC, ISC has been there since nearly the beginning, shooting the second half of American Horror Story’s first season after first collaborating with Murphy on Glee. “American Horror Story had a visual style and approach for season one that was already established by the time I came on to it,” says Goi. “I didn’t make a lot of alterations to it, but in the last two or three episodes I started to veer in the direction that I felt like the material was taking me, and some of that approach is what’s reflected in season two, Asylum, where you’re dealing with an atmosphere that was very crazed. And I think the camerawork and the lighting reflected that a lot.”