|
|
Post by TylerDeneuve on Nov 25, 2023 20:02:39 GMT
I really wish that Sofia Coppola would stop collaborating with Philippe Le Sourd - his work is far too dark and “smoky” - it honestly makes it hard to actually see the film. This approach made more sense for a Southern gothic like ‘The Beguiled’, but for ‘Priscilla’?
I much prefer the look of her films she made with Lance Acord…
|
|
|
|
Post by JangoB on Nov 25, 2023 20:19:23 GMT
Matthew Libatique. Often see him described as one of the best in the business but to me he's got a pretty flat eye. Maestro does look like his best work by far, though.
|
|
|
|
Post by finniussnrub on Nov 25, 2023 21:12:33 GMT
Anthony Dod Mantle, really loves the putrid look.
Barry Ackroyd, I mean who doesn't love blurry shaky cam.
|
|
|
|
Post by stephen on Nov 25, 2023 21:22:43 GMT
Robert Richardson has really dropped off for me in the last twenty years, sad to say.
|
|
|
|
Post by TheAlwaysClassy on Nov 25, 2023 21:48:09 GMT
Prieto's work with Scorsese has been a bit disappointing. Silence was nice, but the other three... just not my cup of tea.
|
|
|
|
Post by pacinoyes on Nov 25, 2023 22:10:28 GMT
Dick Pope often apart from Mike Leigh is especially average .......but occasinally, some of the time even for Mike Leigh  |
|
|
|
Post by Ryan_MYeah on Nov 26, 2023 0:13:50 GMT
Whatever pseudonym Soderbergh works under. The camerawork just feels flat.
|
|
Javi
Badass
Posts: 1,560 
Likes: 1,659
|
Post by Javi on Nov 26, 2023 1:05:15 GMT
Janusz Kaminski's recent work.
|
|
|
|
Post by mhynson27 on Nov 26, 2023 2:10:57 GMT
Matthew Libatique. Often see him described as one of the best in the business but to me he's got a pretty flat eye. Maestro does look like his best work by far, though. His work in Maestro is indeed great. |
|
|
|
Post by DeepArcher on Nov 26, 2023 5:15:51 GMT
I really wish that Sofia Coppola would stop collaborating with Philippe Le Sourd - his work is far too dark and “smoky” - it honestly makes it hard to actually see the film. This approach made more sense for a Southern gothic like ‘The Beguiled’, but for ‘Priscilla’? Priscilla is a Southern Gothic movie, though! |
|
|
|
Post by Pavan on Nov 26, 2023 6:26:23 GMT
Janusz Kaminski.
|
|
|
|
Post by ibbi on Nov 26, 2023 14:37:00 GMT
I'm just begging Caleb Deschanel to stop foisting his sexy daughters on us.
I'm not a big fan of Prieto post-Homesman.
|
|
wonky
Full Member
Posts: 608
Likes: 729
|
Post by wonky on Nov 26, 2023 15:21:34 GMT
Bruno Delbonnel is really hit-and-miss for me tbh, often within the same movie. There are some scenes or shots where I'm blown away by the look, and then other times I find it really distracting or even unpleasant. I've missed Deakins with the Coens, Delbonnel has too much of a "thing" for me in a cinematographer, kinda like Kaminski....when it works, it works, when it doesn't, it really doesn't.
|
|
|
|
Post by Tommen_Saperstein on Nov 26, 2023 18:46:49 GMT
Phedon Papamichael's nomination for Trial of the Chicago 7 was a choice
|
|
avnermoriarti
Badass
Friends say I’ve changed. They’re right.
Posts: 2,419
Likes: 1,306
|
Post by avnermoriarti on Nov 27, 2023 6:17:13 GMT
I wonder what happened to the Rodrigo Prieto that came up with Lust Caution or Broken Embraces, for over a decade his work has been looking flat and plastic and kind of very obvious in some of its gimmicks (The Irishman would never be the masterpiece it should be thanks to how it looks), Killers of the Flower Moon is a nice return to form though.
|
|
|
|
Post by Pittsnogle_Goggins on Nov 27, 2023 14:28:49 GMT
This thread has me thinking that an interesting discussion could be which cinematographers are elevated from certain directors they work with and which directors have their work elevated by specific cinematographers?
|
|
|
|
Post by JangoB on Nov 27, 2023 14:52:35 GMT
This thread has me thinking that an interesting discussion could be which cinematographers are elevated from certain directors they work with and which directors have their work elevated by specific cinematographers? I think we can never truly know the answer to this unless we actually spend time on a specific movie set and see the how the relationship between a director and his DP goes... but we can still speculate  To me a clear answer to the first part of your question is Robert Elswit. PTA really brought out the best in him and clearly demanded the highest level of performance/artistry. But otherwise Elswit seems like a clear journeyman to me - he won't make your movie look bad but he won't give it any special flavor either unless you ask it of him. At least that's the way I see it. As for the second part, Woody Allen comes to mind. It seems like the visual side of things doesn't concern him all that much and he basically gives his DPs the chance to do whatever they want, within certain limits. Which is why his films suddenly become vibrant with color when Vittorio Storaro gets behind the camera, or why they have this sweet golden hue when Darius Khondji is there for him. |
|
|
|
Post by stabcaesar on Nov 27, 2023 16:20:10 GMT
This thread has me thinking that an interesting discussion could be which cinematographers are elevated from certain directors they work with and which directors have their work elevated by specific cinematographers? Ingmar Bergman and Sven Nykvist. The unparalleled DP/director duo. A more recent example would be Céline Sciamma and Claire Mathon. |
|
|
|
Post by mikediastavrone96 on Nov 27, 2023 17:31:00 GMT
This thread has me thinking that an interesting discussion could be which cinematographers are elevated from certain directors they work with and which directors have their work elevated by specific cinematographers? Ingmar Bergman and Sven Nykvist. The unparalleled DP/director duo. A more recent example would be Céline Sciamma and Claire Mathon. Yeah, Céline Sciamma was already a really good and sometimes great filmmaker, but Claire Mathon has helped her unlock her potential and become a possible all-timer. |
|
|
|
Post by mikediastavrone96 on Nov 27, 2023 17:43:45 GMT
Claudio Miranda is pretty hit-or-miss for me. Tron: Legacy and Life of Pi look great but how much of that is due to VFX work that I'm sure he had a hand in for lighting consistency but is mostly not his work (the former particularly has some wonky live action lighting). And Top Gun: Maverick in trying to mimic some of Tony Scott's aesthetic and the ingenious practicality of the flying sequences looks tremendous. His other work either leaves me unimpressed (Tomorrowland, all his other Kosinski films) or is outright ruinous (The Curious Case of Benjamin Button).
|
|
|
|
Post by pacinoyes on Nov 27, 2023 17:49:35 GMT
This thread has me thinking that an interesting discussion could be which cinematographers are elevated from certain directors they work with and which directors have their work elevated by specific cinematographers? A good example of this is Werner Herzog - Thomas Mauch and Jörg Schmidt-Reitwein were all-timers apart from him and he was apart from them - but his most signature works are pretty much just with them and they are their greatest works too ........the rest of their careers are far more minor and obscure by comparison to what they did together........ The whole knock (or praise) on Herzog - what Pauline Kael dismissively termed "he's like a painter not a filmmaker" (paraphrase ) is kind of their "fault"  With Jörg Schmidt-Reitwein:  |
|
|
|
Post by Mattsby on Nov 28, 2023 19:23:17 GMT
Elliot Davis is a curious case for me. One of the most underrated and bizarrest DPs of the 90s... is this century's very worst? Maybe it takes someone so talented to also be so bad? I Am Sam, Thirteen, Twilight, The Comey Rule etc. His stamp is putrid and pallid tones... He removes the work of others, he takes life out of his movies.  Tobias Schliessler.... nothing impressive in 70 movies? his movies look phony and forgettable, or like they literally haven't finished buffering (Pelham 123). Though prob career-best work in that new miniseries. Greig Fraser recently..... Great work in Killing Them Softly, ZD30, Foxcatcher..... but Dune/Mandalorian/The Batman looked like absolute nothing when they should've been visual knockouts, at least. Dariusz Wolski is hit or miss... Love some but idk why many of his movies look so video-game gummy. Phedon is indeed in timeout for Chicago 7. |
|
havok2
Junior Member
Posts: 401
Likes: 187
|
Post by havok2 on Nov 30, 2023 20:03:13 GMT
Hoyte van hoytema is serviceable until Ad astra
|
|
|
|
Post by Tommen_Saperstein on Nov 30, 2023 20:15:18 GMT
Sean Bobbitt has never terribly impressed me. I liked the chilliness he brought to Hunger and but nothing he's done since (especially his McQueen collabs) has been particularly interesting. He's got a solid naturalistic look that rarely calls attention to itself, which works in something like Place Beyond the Pines (his best work IMO) but underserves movies like 12 Years and Judas and the Black Messiah where his cinematography is practically invisible. Phedon's a veeeeery easy target for 2020/2021 (an Oscar season best left forgotten) but Bobbitt didn't deserve his nom that year either.
|
|
