Podcast appearances and mentions of john schwartzman

Today on the show we have Oscar® nominee Jeff Cronenweth A.S.C. Cronenweth worked as a loader and 2nd assistant before graduating high school, and then enrolled in film school at USC where he studied cinematography. Among his classmates were John Schwartzman and Robert Brinkmann, as well as [director] Philip Joanou.After graduation, Cronenweth resumed working with his father, joining a core camera team that included operators John Toll and Dan Lerner, and 1st assistants Bing Sokolsky and Art Schwab.Jeff worked with father Jordan Cronenweth (cinematographer most notable for Blade Runner) as a camera loader and second assistant camera during high school, working his way up to first assistant camera and then camera operator until the mid-1990s.Moving up to first assistant, Cronenweth began working with Toll, who was just beginning his work as a cameraman, and veteran Sven Nykvist."I couldn't have learned from better people than John, Sven and my father,"Cronenweth relates."They were all soft-spoken, but very tenacious in achieving their goals. It was a great experience to watch them, learn set etiquette and see how they delegated responsibilities and dealt with producers and crews. I did six pictures with my father and eight pictures with Sven." [From American Cinematographer Magazine.]The first major motion picture where he acted as a DP was on David Fincher's masterpiece Fight Club. Other notable feature films on which he worked as a DP are One Hour Photo, K-19: The Widowmaker, Down With Love, The Social Network, Hitchcock, The Girl with the Dragon Tattoo, and Gone Girl.Enjoy my conversation with Jeff Cronenweth A.S.C.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

This episode features conversation with Cinematographer John Schwartzman who talks about working on Michael Bay's 'The Rock' & 'Armageddon' and Colin Trevorrow's 'Jurassic World' and 'Jurassic World Dominion'. Kingdom of Dreams is a podcast about cinema and art of storytelling.  The Podcast series will interview people involved behind the scenes, may it be screenwriters, directors, animators, producers etc.       

Today on the show we have Oscar® nominee Jeff Cronenweth A.S.C. Cronenweth worked as a loader and 2nd assistant before graduating high school, and then enrolled in film school at USC where he studied cinematography. Among his classmates were John Schwartzman and Robert Brinkmann, as well as [director] Philip Joanou.After graduation, Cronenweth resumed working with his father, joining a core camera team that included operators John Toll and Dan Lerner, and 1st assistants Bing Sokolsky and Art Schwab.Jeff worked with father Jordan Cronenweth (cinematographer most notable for Blade Runner) as a camera loader and second assistant camera during high school, working his way up to first assistant camera and then camera operator until the mid-1990s.Moving up to first assistant, Cronenweth began working with Toll, who was just beginning his work as a cameraman, and veteran Sven Nykvist."I couldn't have learned from better people than John, Sven and my father,"Cronenweth relates."They were all soft-spoken, but very tenacious in achieving their goals. It was a great experience to watch them, learn set etiquette and see how they delegated responsibilities and dealt with producers and crews. I did six pictures with my father and eight pictures with Sven." [From American Cinematographer Magazine.]The first major motion picture where he acted as a DP was on David Fincher's masterpiece Fight Club. Other notable feature films on which he worked as a DP are One Hour Photo, K-19: The Widowmaker, Down With Love, The Social Network, Hitchcock, The Girl with the Dragon Tattoo, and Gone Girl.Enjoy my conversation with Jeff Cronenweth A.S.C.

JURASSIC WORLD DOMINION brings the dinosaurs to the rest of the world in a terrifying way. Director of photography John Schwartzman ASC shares how the scare factor was pushed thanks in part to his amazing cinematography. John and Go Creative Show host, Ben Consoli, discuss shooting both on film and digitally, working with animatronic dinosaurs, the hustle of being a cinematographer, filming with iPhones, plus we break down some of the biggest scenes in the movie. Subscribe Now! What you will learn in this episode Filming JURASSIC WORLD DOMINION during COVID (01:29) Why DOMINION was shot on both film and digital (09:15) Benefits of filming animatronics vs CGI (18:37) Working with the original cast from JURASSIC PARK (21:07) The hustle of being a cinematographer (24:05) Creating dinosaur "witness cam" footage with iPhones (30:08) Filming Claire hiding underwater from the dinosaura (36:32) Avoiding looking at a monitor while filming (41:33) Shooting the interior of Biosyn (45:06) Filming the Biosyn Locust scene (51:38) Using custom tuned lenses (58:16) And more! Go Creative Show is supported by: Shot Lister - The Best Shot List App Email gocreativeshow@shotlister.com to claim your free gift   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links JURASSIC WORLD DOMINION trailer JURASSIC WORLD DOMINION IMDb The Beaumonte mini vistavision camera N-Cam Technology Artemis Pro Pinewood Studios What is Vista Vision The Architecture of Raymond Loewy Follow Our Guest John Schwartzman's IMDb John Schwartzman's website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

This week I'm joined by one half of the Flixwatcher podcast and someone with the perfect name to discuss this film, Helen Sadler to chat about Seabiscuit (2003). We discuss the films saccharin tone, obvious beats and filmic language, along with how it captures the beats of a Sports Movie and how it encapsulates the period it's set but also the time it was made in the way it tells its story, looks and sounds.Our Coppola Connectee for this episode is: John SchwartzmanHelen Sadler on TwitterFlixwatcher on TwitterFlixwatcher on InstagramFlixwatcher on Apple PodcastsFlixwatcher on SpotifyFlixwatcher on AcastSUPPORT CAGED IN on PATREONBUY A PRINT NOW CAGED IN on TWITTERCAGED IN on INSTAGRAMCAGED IN on LETTERBOXDCAGED IN on FACEBOOKEMAIL CAGED IN NOWCaged In is apart of the Breadcrumbs Collective, head over to the WEBSITE to get all episodes of this show as well as other great shows. Get bonus content on PatreonSupport this show http://supporter.acast.com/cagedinpod. See acast.com/privacy for privacy and opt-out information.

Director Paul Feig, writer Jessica Sharzer, producer Jessie Henderson, cinematographer John Schwartzman and costume designer Reneé Ehrlich Kalfus

Today on the show we have Oscar® nominee Jeff Cronenweth A.S.C. Cronenweth worked as a loader and 2nd assistant before graduating high school, and then enrolled in film school at USC where he studied cinematography. Among his classmates were John Schwartzman and Robert Brinkmann, as well as [director] Philip Joanou.After graduation, Cronenweth resumed working with his father, joining a core camera team that included operators John Toll and Dan Lerner, and 1st assistants Bing Sokolsky and Art Schwab.Jeff worked with father Jordan Cronenweth (cinematographer most notable for Blade Runner) as a camera loader and second assistant camera during high school, working his way up to first assistant camera and then camera operator until the mid-1990s.Moving up to first assistant, Cronenweth began working with Toll, who was just beginning his work as a cameraman, and veteran Sven Nykvist."I couldn't have learned from better people than John, Sven and my father,"Cronenweth relates."They were all soft-spoken, but very tenacious in achieving their goals. It was a great experience to watch them, learn set etiquette and see how they delegated responsibilities and dealt with producers and crews. I did six pictures with my father and eight pictures with Sven." [From American Cinematographer Magazine.]The first major motion picture where he acted as a DP was on David Fincher's masterpiece Fight Club. Other notable feature films on which he worked as a DP are One Hour Photo, K-19: The Widowmaker, Down With Love, The Social Network, Hitchcock, The Girl with the Dragon Tattoo, and Gone Girl.Enjoy my conversation with Jeff Cronenweth A.S.C.

This week I take a trip to Transylvania with my familiar, Tristan Burrell of the great DOUBLE IMPACT Podcast. We discuss the John Schwartzman lensed Dracula Untold (2014). We chatted about our brief knowledge of the Dracula story, the depiction they chose to go with for a guy called Vlad The Impaler and how there may be a Coppola family member who got the Dracula story right.Is this film streaming? CLICK HERE to find out.DOUBLE IMPACT on INSTAGRAMDOUBLE IMPACT on FACEBOOKDOUBLE IMPACT on APPLE PODCASTSDOUBLE IMPACT on SPOTIFYSUPPORT CAGED IN on PATREONBUY ME A COFFEEBUY A PRINT NOW CAGED IN on TWITTERCAGED IN on INSTAGRAMCAGED IN on LETTERBOXDCAGED IN on FACEBOOKEMAIL CAGED IN NOWCaged In is apart of the Breadcrumbs Collective, head over to the WEBSITE to get all episodes of this show as well as other great shows. Get bonus content on PatreonSupport this show http://supporter.acast.com/cagedinpod. See acast.com/privacy for privacy and opt-out information.

Choć do polskiej premiery dzisiejszego thrillera kryminalnego jeszcze trochę czasu, to już teraz postanowiliśmy podzielić się z Wami naszymi odczuciami. The Little Things, do którego scenariusz powstał aż 28 lat temu (!!!), to obraz obfitujący w same znane nazwiska. Za jego scenariusz i reżyserię odpowiada tu bowiem John Lee Hancock, za zdjęcia John Schwartzman, za muzykę Thomas Newman, a i w samej jego obsadzie znajdziemy nie mniej doborowe towarzystwo, bo zdobywców łącznie czterech Oscarów, czyli Denzela Washingtona, Ramy'ego Maleka, oraz Jareda Leto. I choć brzmi to wszystko jak przepis na przepyszne danie filmowe, to my jednak postanowiliśmy dokładniej zaprezentować Wam jego "skład chemiczny"... Notatki:  https://www.tmfpodcast.com/podcast/the-little-things

A review for The Little Things. Starring Denzel Washington, Rami Malek, Jared Leto, Chris Bauer, Michael Hyatt, Terry Kinney and more. Written and Directed by John Lee Hancock. Music by Thomas Newman. Cinematography by John Schwartzman. And many more admirable contributions by cast and crew.

Alex Buono is Director/EP of the Emmy-nominated IFC comedy series DOCUMENTARY NOW!. He is also the Writer/Producer of the documentary feature BIGGER STRONGER FASTER*, which premiered at the 2008 Sundance Film Festival and won the Special Jury Prize at the Karlovy Vary Film Festival. In 2003, Alex received an Oscar nomination for the short film JOHNNY FLYNTON, which he produced and also shot. Alex repeated the dual role of producer/cinematographer on GREEN STREET HOOLIGANS that won both the Grand Jury Prize and Audience Award at the 2005 South by Southwest Film Festival. Alex was also the Director of Photography for the SATURDAY NIGHT LIVE Film Unit from 1999-2016, where he shot hundreds of short films, including Farewell, Mr. Bunting, The Midnight Coterie of Sinister Intruders, Santa Baby, Matthew McConaughey for Lincoln and the 40th Anniversary Season title sequence, to name a few. Alex was educated at the USC School of Cinematic Arts, where he double-majored in Film Production and Still Photography. His early post-collegiate years were spent on the camera crews of studio films including Twister, Conspiracy Theory and Armageddon, learning from top cinematographers and personal mentors including Conrad Hall, Dean Cundey and John Schwartzman. Alex is a member of the Director’s Guild of America, the Writer’s Guild of America, the International Documentary Association and the International Cinematographer’s Guild.

THE CINEMATOGRAPHY OF THE HIGHWAYMEN John Schwartzman is the legendary cinematographer behind the lens of classic films like The Rock, Seabiscuit, Armageddon, Pearl Harbor, The Founder, and Jurassic World. He joins Go Creative Show host Ben Consoli discuss his amazing career, tips for budding cinematographers, and his film, The Highwaymen. Subscribe Now! What you will learn in this episode Working with movie studios vs streaming services Filming for tv's, phones and tablets Working with directors John's pre-production process Achieving the look for THE HIGHWAYMEN Lighting THE HIGHWAYMEN John's preferred camera and lens packages Shooting film vs digital The challenges of shooting in the mud The importance of a good relationship with colorists The Go Creative Show is supported by: Premium Beat Rule Boston Camera Hedge Shutterstock Magnanimous Rentals PremiumBeat.com Song of the Week A Little Bit of Rhythm by Jonathan Boyle Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio Follow Our Guest John Schwartzman Official Website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram   Follow Matt Russell Gain Structure Sound Twitter

We break our silence on this 1990 obscure classic! Imagine being stuck in a time-loop, doomed to lose your Halloween fling every 22 years. Rockula is a 1990 American comedy film directed by Luca Bercovici. The story centers on a vampire under a curse (the tagline is: "He's a vampire that hasn't scored in 400 years—tonight's the night!"). It was written by Bercovici and Jefery Levy. Dean Cameron stars as the vampire Ralph LaVie, Toni Basil plays Phoebe LaVie, Ralph's mother, and Thomas Dolby is the villain Stanley. Bo Diddley has somewhat more than a cameo as Axman, playing in Ralph's band, incidentally named Rockula. The director of photography was John Schwartzman, later the DP on Seabiscuit and Saving Mr. Banks. Edited by Fraser du Toit Music by zapsplat.com

We sit down to talk with Academy-Award nominated cinematographer John Schwartzman, ASC about his fantastic career: starting with his early days as a film student at USC's School of Cinematic Arts, growing up with a very young Michael Bay and transitioning together into features with projects such as 'The Rock' and 'Armageddon', and later on reaching extraordinary creative input in films such as 'The Amazing Spider-man' and 'Jurassic World'. At the time of this recording in May 2017, Schwartzman was still attached to shoot 'Star Wars: The Rise of Skywalker' with director Colin Trevorrow. They have since moved on to other great projects.

Meet your hosts, Ben and Nathan. Film industry grips. Movie geeks. They just finished working on a feature film with one of their favorite cinematographers, John Schwartzman, A.S.C. Email us at WTWFPodcast@gmail.com!  

"You don't throw a whole life away just ‘cause he's banged up a little." When Seabiscuit raced in the 30s, he drew more news than Roosevelt or Hitler. His match race against War Admiral was heard by 40 million people, statistically about as many Americans who tune in to watch the Superbowl every year. But he wasn't just winning races – he was a hero for the little guy who lost everything in the Great Depression and was fighting for a second chance. Join us – Pete Wright and Andy Nelson – as we wrap up our “This Is Real Life, Jack!” series with Gary Ross' 2003 film Seabiscuit.  We talk about how the movie works overall, and the interesting addition Ross added of documentary-style narration provided by one of America's great voices, David McCullough. We debate about how well Ross does with the opening act of his film – is it a sloppy mess that takes too long to get us to the horse or is it a brilliantly cut-together example of how well Ross does to move us through time and connect us to these characters? We look at the performances of Jeff Bridges, Chris Cooper, Tobey Maguire, Elizabeth Banks and William H. Macy, among others, and relish in the great work they all do here, even if Banks really is given nothing more than the ‘thankless wife' role. We discuss some of the key team members – John Schwartzman's cinematography, William Goldenberg's editing, Randy Newman's music – and what they all bring to the table. And we ponder the cost of the Equicizer and how effective it is in allowing the filmmakers to cut in closeups of actors talking while in the midst of their incredibly choreographed and photographed races.  It's a beautiful, powerful film that may wear its heart on its sleeve, but one that does so proudly, not ashamed of what it is. We have a great conversation about it, even if we don't see eye to eye on everything in it. So check out the movie then tune in! Film Sundries Watch this film: iTunes • Amazon Script Transcript Original theatrical trailer Original poster artwork Seabiscuit: An American Legend by Laura Hillenbrand Flickchart Letterboxd Trailers of the Week Andy's Trailer: Patriots Day — "As horrific the act of terrorism during the Boston Marathon was, it also showed how brilliantly our law enforcement, FBI and military came together to solve the crime and catch the perpetrators. I worked on the TV movie version of this and I'm very excited to see how Berg and Wahlberg come together in their version.” Pete's Trailer: Army of One — "Nicholas Cage starts making so much sense now. He hears the voice of God — Russell Brand, natch — and decides to go to Pakistan to apprehend Osama bin Laden. If it didn't lead with based on a true story, I would have passed. With that, I'm very, very curious."

"You don’t throw a whole life away just ‘cause he’s banged up a little." When Seabiscuit raced in the 30s, he drew more news than Roosevelt or Hitler. His match race against War Admiral was heard by 40 million people, statistically about as many Americans who tune in to watch the Superbowl every year. But he wasn’t just winning races – he was a hero for the little guy who lost everything in the Great Depression and was fighting for a second chance. Join us – Pete Wright and Andy Nelson – as we wrap up our “This Is Real Life, Jack!” series with Gary Ross’ 2003 film Seabiscuit.  We talk about how the movie works overall, and the interesting addition Ross added of documentary-style narration provided by one of America’s great voices, David McCullough. We debate about how well Ross does with the opening act of his film – is it a sloppy mess that takes too long to get us to the horse or is it a brilliantly cut-together example of how well Ross does to move us through time and connect us to these characters? We look at the performances of Jeff Bridges, Chris Cooper, Tobey Maguire, Elizabeth Banks and William H. Macy, among others, and relish in the great work they all do here, even if Banks really is given nothing more than the ‘thankless wife’ role. We discuss some of the key team members – John Schwartzman’s cinematography, William Goldenberg’s editing, Randy Newman’s music – and what they all bring to the table. And we ponder the cost of the Equicizer and how effective it is in allowing the filmmakers to cut in closeups of actors talking while in the midst of their incredibly choreographed and photographed races.  It’s a beautiful, powerful film that may wear its heart on its sleeve, but one that does so proudly, not ashamed of what it is. We have a great conversation about it, even if we don’t see eye to eye on everything in it. So check out the movie then tune in! Film Sundries Watch this film: iTunes • Amazon Script Transcript Original theatrical trailer Original poster artwork Seabiscuit: An American Legend by Laura Hillenbrand Flickchart Letterboxd Trailers of the Week Andy's Trailer: Patriots Day — "As horrific the act of terrorism during the Boston Marathon was, it also showed how brilliantly our law enforcement, FBI and military came together to solve the crime and catch the perpetrators. I worked on the TV movie version of this and I’m very excited to see how Berg and Wahlberg come together in their version.” Pete's Trailer: Army of One — "Nicholas Cage starts making so much sense now. He hears the voice of God — Russell Brand, natch — and decides to go to Pakistan to apprehend Osama bin Laden. If it didn’t lead with based on a true story, I would have passed. With that, I'm very, very curious."

John Schwartzman, ASC discusses his work on the modestly budgeted character-driven movie, Saving Mr. Banks, discussing the choice to shoot on film and how they recreated 1960s Los Angeles using no digital mattes or effects.

John Schwartzman, ASC discusses his work on the modestly budgeted character-driven movie, Saving Mr. Banks, discussing the choice to shoot on film and how they recreated 1960s Los Angeles using no digital mattes or effects.

Dynamic Los Angeles band Polaris Rose - Peter Anthony and Madelynn Elyse -  bring their vivacious alternative rock sound to Music Friday in Segment ! this week with cuts from their new EP The Moon & its Secrets,  their second,  ready for release next week.  We talk with the duo about their  unique sound built with with soaring melodies and pitch perfect harmonies, alt rock electric instru- mentation,emotional songwriting and their signatuare female/male vocal dynamic.Jessica Fleischer joins us in Segment 2 to preview her debut album, From the Start,  and to let us in on what it is like to  work with California Dreamin' Records producer, Robert Schwartzman.   Drawing on influences from Electric Light Orchestra to 60s girl-groups, the music ofLots of Love fuses nostalgia-steeped pop-rock songwriting with a fresh and modern point of view.    Music Friday is your weekly hour of music, interviews, tunes and news - with the guests chosen by you.  Go to musicfriday.nationbuilder.com and tell us who you want us to interview and then listen every Friday to see if your choice was the favorite of the week.  The artists with the most requests are interviewed each week.  And, we also feature exclusive interviews with film directors who document music...just a little extra for Music Friday listeners.

It's Summer 2012 — and that means your friendly neighborhood Spider-Man is once again slinging webs on the big screen. But according to this month's guest, 'The Amazing Spider-Man' inhabits a gritty and realistic world the likes of which his movie going fans have never seen. We got to talk to the film's director of photography, and avid Spider-Man fan, John Schwartzman, ASC about his Amazing work on this much anticipated blockbuster. John has shot more blockbusters than many cinematographers have seen. He is known for the moving, dynamic camera style that made action films like director Michael Bay's 'The Rock', 'Armageddon' and 'Pearl Harbor' so memorable... but he is no one trick pony. He was nominated for an Oscar and won an ASC award for his thoughtful and classically beautiful work on 'Seabiscuit', and his other credits include 'The Rookie' and 'Benny & Joon'. He speaks to us today about shooting 'The Amazing Spider-Man', the state of the art Red Epic cameras John borrowed from Peter Jackson's 'The Hobbit', and about his career in the movies. Thank you for downloading this episode of The Camera Report, produced by Brad Malone and Sean Malone. For more episodes of The Camera Report please visit waterfootfilms.com and click on the PODCAST link. Subscribing is easy and free. Also, search for Waterfoot Films on Facebook and then "Like" us to see updates. If you'd like to offer feedback about the show, Email us at podcast@waterfootfilms.com. Thanks for listening!