Podcast appearances and mentions of anthony dod mantle

Send us a textKathy and Britta react to the trailer for 28 Years Later, an upcoming British post-apocalyptic horror thriller film produced and directed by Danny Boyle, and written by Alex Garland. The third in the 28 Days Later film series, following 28 Days Later (2002) and 28 Weeks Later (2007), it stars Jodie Comer, Aaron Taylor-Johnson, and Ralph Fiennes. The film marks the returns of Boyle, Garland, and cinematographer Anthony Dod Mantle to the series, all of whom worked on the original film, with Cillian Murphy also serving as executive producer.Support the show

28 Days Later is a "Zombie" movie made with a TV Camera that you watch on a big screen. It's really great! We talk about the practical and impractical applications of digital technology, materiality and zombie movies, the movie's depiction of fascism and soildering, then and now, and also what a spectacular bummer this thing is.  Read a great essay about filmic materiality and the zombie movie here. Research also pulled up this extemely weird but kind of nifty essay about how 28 Days Later is kind of about the new apocolyptic bent that food writing took in the early aughts.  A very good interview with cinematographer Anthony Dod Mantle can be read here.  Matt reccomends 'Cinema's First Nasty Women,' an anthology fron Kino Lorber, available now. Corbin reccomends Dinner in America. He also likes that new Pixar show on Disney+ but your milage might vary. Next Week's episode is about either Spy Kids 2 or 3, we havent quite decided yet. If anyone had a strong opinion about which is the superior one, tell us I guess. 

In the thirty-eighth episode of Season 4 (The Horror, The Horror) Kyle is joined by script supervisor Katy Baldwin and cinematographer Josh Carter to discuss the ever present commentary on virus, rage, and societal collapse from the inside and beyond in Alex Garland and Danny Boyle's revitalization of the zombie genre 28 Days Later.

Fim Çıkışını'na bu hafta görüntü yönetmeni Meryem Yavuz konuk oldu. Yavuz 15 yaşından beri görüntü yönetmeni olmayı hayal ettiğini ve eğitim hayatının da bu hedef doğrultusunda geliştiğini söyledi. Yavuz, görüntü yönetmeninin bir filme hazırlanırken hangi aşamaları izlediğini, filmin yönetmeni başta olmak üzere film ekibiyle ilişkisini nasıl kurduğu anlattı. Yönetmenin filmografisinde öne çıkan filmer ise şöyle: Bilmemek (2019), Borç (2018), Görülmüştür(2019), Aydede(2018), Toz Bezi(2015), Kumun Tadı(2014), F Tipi Film(2012). Meryem Yavuz yer aldığı projelerin hepsinin kendisi için çok özel deneyimler olduğunu ve her birinden çok şey öğrendiğini söyledi. Neslihan Siligür'ün yönetmenliğini yaptığı, görüntü yönetmenliği alanında kadınların azınlıkta olduğuna ilişkin belgesel Kameralı Kadınlar'da (2018) röportajı yer alan Yavuz, filmin çekildiği tarihten bugüne kadarki süreçte kadınların bu alandaki eşitlik mücadelesinin ilerleyişini ve görüntü yönetmenliği yapan kadınların artık daha kolay kabul gördüğünü anlattı. Agnes Godard, Rachel Morrison, Reed Morano, Robbie Ryan, Anthony Dod Mantle, Yavuz'un ilham aldığı görüntü yönetmenleri arasında. Yavuz, salgınla birlikte yoğun bir şekilde dizi ve film alanında içerikler üreten dijital platformlardaki işlerin kalitesinin git gide düştüğünü söyledi.

Velkommen til Episode 156, hvor ser Zack Snyders 4 timers katarsis projekt Justice League, Eddie Murphys tilbagevenden til en af sine bedste roller - og film, med Coming 2 America, og så får vi et 4K gensyn med Dredd. Og i den anledning har vi interviewet filmens fotograf Anthony Dod Mantle. Derudover har vi Nyheder og Han Duo Jokes.  Han Duo præsenteres i samarbejde med Hiper.dk 00:00:00: Intro 00:09:00: Coming 2 America anmeldelse 00:35:10: Dredd 4K anmeldelse 00:57:40: Anthony Dod Mantle interview  01:12:00: Zack Snyders Justice League anmeldelse 01:44:50: Nyheder 01:54:40: Han Duo Jokes 02:03:40: Karakter og afslutning God fornøjelse Kh Jacob & Elias

In our first-ever Best Of compilation episode, we have a dozen clips of listener favorites from 2020 and some of our selects as well. Cinematographer Bradford Young goes deep into his filmmaking philosophy and influences, such as on Selma; Kira Kelly talks about making the documentary 13th with director Ava DuVernay; Greig Fraser on Lion, Star Wars and The Mandalorian; Anthony Dod Mantle describes exploring New York City for The Undoing; Wally Pfister on his early career working on Roger Corman movies; Brendan Davis on leaving China as the pandemic hit; director Don Coscarelli remembers working with cinematographer John Alcott on The Beastmaster; legendary documentarian Frederick Wiseman talks about his process of assembling his films; cinematographer Iris Ng on making documentaries that are personal narratives; commercial director Bruce Van Dusen tells an anecdote from an Ex-Lax commercial; director Julie Taymor on the visual language of The Glorias; and finally director Ron Howard on directing the documentary Rebuilding Paradise versus his approach to narrative films. Be sure to check out the full episodes, and let us know what you think! IT'S A GIVEAWAY! Enter to win Bruce Van Dusen's book, 60 Stories about 30 Seconds: How I Got Away with Becoming a Pretty Big Commercial Director Without Losing My Soul (or Maybe Just Part of It). Like and comment on our Bruce Van Dusen post on Facebook and we'll choose a winner from the comments. https://www.facebook.com/cinepod Find out even more about this episode, with extensive show notes and links: http://camnoir.com/bestof2020/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

You probably know cinematographer Anthony Dod Mantle for his Oscar winning work with director Danny Boyle on "Slumdog Millionaire," or their other collaborations on "28 Days Later" & "127 Hours." He has also worked with Lars Von Trier, Ron Howard, Angelina Jolie and his latest collaboration has been with Marjane Satrapi, on her biopic of Marie Curie (played by Rosamund Pike) titled "Radioactive." Taking his unique visual style to a period setting, Mantle deploys colorful and bold choices to the film's look, resulting in one of the most gorgeous looking movies of the year. He was kind enough to talk about his work on the film which you can listen to down below. Enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

Cinematographer Anthony Dod Mantle, ASC, BSC, DFF thinks most cinematographers start out hoping and praying that the right script would come along that will spark a great film. His most recent project, the HBO series The Undoing, features New York as a central character in the story and explores the upper echelons of wealth. While Anthony loves the film format, he's become known for his pioneering style with digital cameras after working with directors Lars von Trier, Thomas Vinterberg and Harmony Korine, who all embraced the Dogme 95 film aesthetic. The collective set out to make films strictly with story, acting and theme, without the use of big budgets or special effects. Anthony had tried and tested many different digital cameras when Danny Boyle called him to shoot his film, 28 Days Later. Boyle and Anthony decided to shoot the zombie movie with the Canon XL1. Using such a small format digital camera takes advantage of the stuttering effect of the shutter, and it was easy to multi-shoot with the tiny camera and the equally minuscule indie art film budget. Slumdog Millionaire is widely known to be the first digitally shot movie to win an Oscar for cinematography. Anthony had spent a good amount of time in Mumbai, and his familiarity and ease with the city helped him and director Danny Boyle move quickly and react to a large cast of non-actors. Anthony also brought his experience to the film Rush. He had been a fan of Formula One racing ever since childhood, and he loved working with director Ron Howard, who came to him with an open heart and a collaborative spirit, since Howard had to learn about the sport. Rush was extremely technically complicated and was mainly shot with only practical effects. You can watch The Undoing on HBO Max. https://www.hbo.com/the-undoing Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep104/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com And Aputure: https://www.aputure.com/ Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Episode 68 - ANTHONY DOD MANTLE - Cinematographer Team Deakins talks to talented cinematographer, Anthony Dod Mantle. We cover many subjects, including his work in documentaries and political films, his experiences in India, how he started with still photography and why he moved to motion picture, and his early experiences of focus pulling. He tells us at length his involvement with dogma films and what that means and how he likes to start from a new place for each film. He breaks down a lot of the shooting in the movie “The Command” and gives us the tip of how where you put the focus helps greatly in marrying different formats. A fascinating discussion with a great cinematographer! RECOMMENDED EPISODE VIEWING: The Command

"Monsters... are they real? Or did the stories exist only to make us respect the sea’s dark secrets?” There have been a number of stories written about the tragedy of the whaling ship The Essex. The captain wrote about it. His first mate wrote about it. And as it turns out, one of the cabin boys wrote about it as well. The recounting by this cabin boy, Thomas Nickerson, became the primary source for Nathaniel Philbrick’s 2000 novel “In the Heart of the Sea,” which was the source for the 2015 film version. It’s hard to argue with many of the facts as reported in the sources because they’re generally comparable. The film, however, takes more licenses with accuracy. Did it need to? Or does it work this way? Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Ron Howard’s 2015 film In the Heart of the Sea. We talk about why this film feels like a perfect film for our wheelhouse... and debate about why it fell so flat in the end. We look at changes made to the original story and wonder if the changes work or make it worse. We chat about the performances from the solid cast... and ponder how almost every one of them can butcher the accent so much. We discuss the whaling and sailing aspects of the film and how generally impressed we were with their depictions. We talk about sperm whales and the realities of them. We look at the construction of the script and how it feels like it peaks midway through. And we look at technical aspects that work for us – Roque Baños’ score – and that we struggled with – some of Anthony Dod Mantle’s cinematography choices. It’s a film that’s engaging to watch but feels like it has constant problems. We find it to be an interesting watch, but largely leaves us flat. It provides for a great conversation though, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: iTunes • Amazon • YouTube Script Transcript Original theatrical trailer Original poster artwork In the Heart of the Sea: The Tragedy of the Whaleship Essex by Nathaniel Philbrick Flickchart Letterboxd ß

"Monsters... are they real? Or did the stories exist only to make us respect the sea's dark secrets?” There have been a number of stories written about the tragedy of the whaling ship The Essex. The captain wrote about it. His first mate wrote about it. And as it turns out, one of the cabin boys wrote about it as well. The recounting by this cabin boy, Thomas Nickerson, became the primary source for Nathaniel Philbrick's 2000 novel “In the Heart of the Sea,” which was the source for the 2015 film version. It's hard to argue with many of the facts as reported in the sources because they're generally comparable. The film, however, takes more licenses with accuracy. Did it need to? Or does it work this way? Join us – Pete Wright and Andy Nelson – as we continue our Aquatic Killers series with Ron Howard's 2015 film In the Heart of the Sea. We talk about why this film feels like a perfect film for our wheelhouse... and debate about why it fell so flat in the end. We look at changes made to the original story and wonder if the changes work or make it worse. We chat about the performances from the solid cast... and ponder how almost every one of them can butcher the accent so much. We discuss the whaling and sailing aspects of the film and how generally impressed we were with their depictions. We talk about sperm whales and the realities of them. We look at the construction of the script and how it feels like it peaks midway through. And we look at technical aspects that work for us – Roque Baños' score – and that we struggled with – some of Anthony Dod Mantle's cinematography choices. It's a film that's engaging to watch but feels like it has constant problems. We find it to be an interesting watch, but largely leaves us flat. It provides for a great conversation though, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: iTunes • Amazon • YouTube Script Transcript Original theatrical trailer Original poster artwork In the Heart of the Sea: The Tragedy of the Whaleship Essex by Nathaniel Philbrick Flickchart Letterboxd ß

The Cinematography Podcast Episode 68: Stefan Ciupek Stefan Ciupek became interested in film while growing up in East Germany, but his options were limited in what was then a Communist country. His family managed to escape to Poland, and movies became a refuge from difficult times. In fact, Stefan and his mother were able to pirate Western films and re-sell them as bootlegs. His family managed to move to West Berlin, and by the age of 16, Stefan had a videocamera and started studying film in Germany. Stefan became one of the first adopters of digital camera technology, and became an early digital imaging technician (DIT) and colorist. He helped pull off an amazing achievement with 2003's Russian Ark, a 90 minute film shot entirely in one take, in one location. After his accomplishments on Russian Ark, cinematographer Anthony Dod Mantle found him and the two worked on several projects, including 127 Hours and Slumdog Millionaire, which became the first digital film to win an Academy Award for Best Cinematography and Best Picture. As digital technology became more technical, Stefan decided he wanted to be more involved in the creative process and returned to cinematography. He shot director Lulu Wang's first film, Posthumous, as well as several episodes of the upcoming season of The Spanish Princess on Starz. For Guns Akimbo, Stefan read the script and immediately knew how he would shoot it. Everything in the action movie is highly exaggerated and over-the-top. Stefan used the Red Monstro camera, a variety of different lenses and high key lighting to highlight some of the humor. You can see Guns Akimbo streaming now on Vudu and Amazon. https://www.youtube.com/watch?v=ZOFatKD0Vzo Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep68/ LIKE AND FOLLOW US, send fan mail or suggestions! Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz Brought to you by Hot Rod Cameras: Find your next camera, lens, light or accessory at https://hotrodcameras.com/ Hot Rod Cameras is giving away TWO professional, cinema quality Aputure MC lights! One for you AND a friend you tag! Go to http://hotrodcameras.com/giveaway to enter. Contest ends March 30, 2020.

While everyone can agree that practical effects are best, Dredd (2012) proves that, when used well, CGI can actually enhance the viewing experience. With a tight script by Alex Garland and impressive cinematography by Anthony Dod Mantle, this dystopian Training Day manages to deliver the violent action goods while keeping the stakes tangible. Join us as we mangle some LOTR character names, slather on some Pancreo-Grow Wound Away, and give Miss Kitty 101st Court a call. It’s time for Ex Rated Movies!

Cinematographer Anthony Dod Mantle, ASC, BSC, DFF discusses his work in the political thriller Snowden (2016), which details the real-life story of whistleblower Edward Snowden.

Cinematographer Anthony Dod Mantle, ASC, BSC, DFF discusses his work in the political thriller Snowden (2016), which details the real-life story of whistleblower Edward Snowden.

It's a "royal flush" of talent on BEHIND THE LENS as we navigate the poignant and comedic minefield of friendship with BFFs, and then go deep undercover in John le Carre's world of friendship and espionage with OUR KIND OF TRAITOR. It's all about BFFs as we welcome writers/producers and actresses TARA KARSIAN and ANDREA GRANO, and actors JEFFREY VINCENT PARISE and DAN GAUTHIER live to BTL to talk about, what else, BFFs. Hilarity ensues with Tara and Andrea, but then explodes at the midpoint of the show with Jeffrey and Dan. Amidst the laughter, however, yous'll get some terrific insight from Tara and Andrea on the creative process of writing and pitfalls of producing, while the boys talk performance, finding scripts, the excitement of the BFFs script, role appeal, and more. And yes! All the "General Hospital" fans will love hearing Jeffrey Vincent Parise talk about GH and his character "Carlos Rivera" (especially with a few hints of what may be yet to come), plus some thoughts just for all of the GH faithful. In the last segment of the show, director SUSANNA WHITE clues us in on elements of OUR KIND OF TRAITOR, including her casting, cinematographer Anthony Dod Mantle and helming a spy thriller. And at the top of the show, hear excerpts of film critic debbie elias' exclusive interview with actor AL CORONEL talking TNTs's THE LAST SHIP. http://behindthelensonline.net http://eliasentertainmentnetwork.com

This week, Mike and Jason discuss all the latest camera tech and news, including the new camera from Arri - the AMIRA. Plus Mike talks to cinematographer Anthony Dod Mantle about RUSH

Velkommen tilbage! Ikke bare til jer, men også til os. Vi har været på (alt for lang) sommerferie, så det har i sandhed været en fornøjelse at sætte sig til rette i studie 2 igen, og så med så mange godbidder. I anledning af premieren på Formel 1-filmen Rush, er snakken naturligvis landet på racefilm. Racefilm, som jo grundlæggende er noget lort. Det syntes Casper i hvert fald, men når man hører hvilke racerfilm han har set, er det forståeligt at han ender med det ræsonnement. I denne podcast tager både I (lytterne) og Brie dog kampen op, og skal lære Casper hvad en god racerfilm er og hvilke man SKAL se. Tusind tak for de mange gode forslag, i denne forbindelse. Men egentlig er racefilmen kun lille del af denne podcast. Vi har rystet posen og skabt et nyhedsindslag, der er lidt anderledes end det plejer, men forandring fryder. Vi lynanmelder Nattens Dæmoner, The Grandmaster, Jobs, Kick-ass 2 og Pain & Gain og giver os lidt bedre tid til at vurdere Spies & Glistrup, The Butler og Rush. Det fede er, at vi ikke er helt enige denne gang. Brie har været en god vært denne gang. Han har nemlig sludret med Anthony Dod Mantle, om optagelserne til Rush (vi skulle i øvrigt hilse). Det er hermed også første gang du kan høre et Skype-interview i vores podcast, da Tony (blandt venner, du ved) befandt sig i hans lejlighed i Notting Hill, der unægtligt ligger nogle kilometer fra Hjørnet. Derudover har Brie også været i Venedig, til en filmfestival der på trods af nogle relativt interessante film, med rette kan beskrives som døende, men mere om det til sidst i podcasten. Men vent. Vi har jo glemt det vigtigste. Vi har fået NYE INTRO- OG OUTRO-JINGLES! Yessør, alle jeres ca. 120 filmcitat-forslag har været op til overvejelse og en hel del af dem har fundet vej til de endelig jingles. Vi håber i kan lide dem, for I kommer til at høre dem mange gange fremover. Ellers er det... bare ærgerligt, sonnyboy. Rigtig god fornøjelse og ses i 82'eren! Med venlig hilsen, Casper & Brie P.s. Undskyld forsinkelsen. D. 15. september blev til d. 17. september og sådan er der så meget. God lytter!

Sæt dig rigtig godt til rette, for du står overfor at skulle kaste dig ud i den længste podcast vi har produceret, siden vores Top 100-podcast. Det er dog den længste sammenhængende podcast, vi nogensinde har lavet og det er der flere gode grunde til. For det første har vi jo denne gang haft hyggeligt besøg af en af Danmarks mest interessante filmfolk, filmfotografen Anthony Dod Mantle. Anthony er manden der blandt andet har filmet Festen, 127 Hours, 28 Days Later, denne måneds Dredd og ikke mindst Slumdog Millionaire, som han vandt en Oscar for. Han er på alle mulige måder et interessant menneske og vi siger det som det er: Han snakker som et vandfald. Det gør imidlertid ikke noget, for han siger stort set ikke et ord, der ikke er interessant for filmelskere. Så glæd dig til to timers kaffeslupren med en af filmverdenens fremmeste filmfotografer, hvor vi snakker om dansk film, hans arbejde med at udvikle kameraer for Canon, hvorfor Festen var en leg, hvad der er galt med M. Night Shayamalan og hvilken (MEGET) kendt instruktør der har verdens klammeste håndtryk. Det er et krævende interview - så er du advaret - men hold ud, for det er det pureste guld, hvis du investerer dig selv og lytter med. Anthony er klart hovedretten i Podcast 63, men vi har også linet et væld af forretter op, i form af: - Anmeldelser af Marie Krøyer, You & Me 4ever, ParaNorman, Kapringen, Ted, Dredd, Moonrise Kingdom og Den skaldede chauffør - En Top 10 over ting Judge Dredd var, inden han var "the law". - Nyheder fra Mr. Filmnnews - Emmy-overblik fra TV-serie-anbefaler Anders Vad Bruun. - Og en reklame for en film fra reklamedude. Oven på denne hardcore filmpodcast har vi brug for ferie, men vi har ikke ferie, for vi kører ufortrødent videre og er allerede i færd med at finde flere prominente filmgæster til Hjørnet. Tusind tak for din opmærksomhed og vi elsker at du lytter med. Med venlig hilsen, Casper og Jesper