Podcast appearances and mentions of Wally Pfister

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Play Episode Listen Later Jul 20, 2024 72:53

Send us a Text Message.The One With The Dream Stuff Inside Oppenheimer INCEPTIONThis week TGTPTU reaches the timey-wimey center of Season 12 as the Nolan Void temporal pincer pairing movement ends with INCEPTION (2010), Sir Chris's studio-backed super-successful non-supes cinema experience and his first Oscar nom for Best Picture--and finally winning pod-fav Wally Pfister his Best Cinematography trophy after being nominated for his previous three Nolan flicks. Inception tells the story of blah-blah-blah, some (too many?) rules, not really all that dreamy, but hella cool. And to tell that story, Nolan brought in no one. Just himself, his first (and his second Oscar-nominated) solo screenplay since Memento and, since guerilla shooting on the mean (and friendly) streets of London for Following, his first property that's entirely original (not based on another's idea, unless the late-80s, two-season TV series Freddy's Nightmares counts). Fall asleep with cohosts Ken and Ryan as Thomas's synopsis goes too long, wake up with their proposed needle-drops, trace when DiCaprio's Dom isn't wearing a wedding band, and wonder at the terror posed by the children's song with the eternal question of Row-Row-Row-Your-Boat: What if life is but a dream? Just like Dom's ageless kids, we'll be lurking around for a dramatic conclusion next week, which we welcome you to join us for discussion of Paprika as we wrap Season 12 like we did Season 11.THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

NOLAN VOID: WATCH THE WORLD BURN

Play Episode Listen Later Jul 13, 2024 81:56

Send us a Text Message.TGTPTU reaches the beginning of the end of Season 12 as the team covers THE DARK KNIGHT (2008), the penultimate NOLAN VOID film in our temporal pincer pairing movement. Rebounding from the only moderate success of The Prestige, Sir Chris creates a mega-blockbuster with The Dark Knight, his follow-up to Batman Begins and a film that compresses at minimum two movie's worth of story into one film in order to prevent promising Warner Brothers another sequel. (Spoiler for last week's episode, Nolan makes a third Batman film that 75% of TGTPTU hosts think is great.) The Dark Knight is also a film that changed how the Academy compiled its Best Picture Oscar category. Oddly, this season's final pairing matches last season's release years for Aronofsky's pincered final middle pairing with The Wrestler released the same year as The Dark Knight and Black Swan the same as Inception. (No comment back from Darren's people on his feelings for having developed so much of Batman Year One for the Warners only to be led into making his The Fountain for the Bros in 2006.) Unfortunately, further research this episode was stymied by Jack stuck in France fighting extradition back to the States and unable to make our final The Dark Knight trilogy episode. Fortunately, our three consistent hosts are pretty good about guessing facts about flicks, like this pairing the first the entire season both shot by the great Wally Pfister (what? hardly even know her) with The Dark Knight being Nolan's first film with scenes shot on Imax (but ignore Thomas's misinformation about Inception also being shot on Imax; he's like a dog chasing a car or a British colonialist burning down a jungle or brunch.) Listen close, take lots of notes, and discover what words The Joker finds funny; how to make visual art summaries for an auditory medium; and why TGTPTU remains the Pacific Northwest's still least listened to film podcast. Why so serious? THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

NOLAN VOID 4.5: INTERSTELLA DA-VIDA

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Play Episode Listen Later Jun 22, 2024 90:11

Send us a Text Message.INTERSTELLARIn this week's episode of TGTPTU, director-writer-producer Sir Christopher Nolan adds space to his repertoire of time-bending narratives as we venture deeper into The Nolan Void with INTERSTELLAR (2014). The Nolan brothers return with cowriting credits, Nathan Crowley on production design, and Lee Smith as editor on this tale of global dust bowl devastation and human hope through American derring-do as the U.S.'s secret space program saves the planet (or at least itself, or perhaps only some of its elite, it's not clearly defined) by reaching again for the stars (celestial bodies, not celebrities). But new this time to the Nolan crew (at least in this entropy-forward timeline of your hosts' dimension, that being the same in which these notes are composed), the making of Interstellar brings on a new cinematographer, replacing pod fav Wally Pfister who'd been part of the creative team since Memento with the bear of a man and no slouch himself: Double Hoyte (aka Hoyte van Hoytema). Hoyte will stick with Nolan from this film on through the remainder of the later films already covered this season (again, frame of reference being an entropy-forward continuum) and who'll provide this week's Nolan innovation to shooting on IMAX when he lifts the somewhere just short of 100 lb (45 kilo) camera to film handheld. With Interstellar, Sir Nolan becomes the marketing of the flick and a multidimensional threat as he joins hard-ish science fiction with his timey-wimey narratives. His rewrite of Jonah's script, which was owned by Paramount and originally set to be directed by Steven Spielberg (a notable, still-living, Boomer American director; see our Season Six for further info on this influential movie brat), introduced into the story sacrifices of duty and fatherhood, the vagaries of time, and Matt Damon and omitted the original version's People's Republic of China robots and the discovery of fractal alien creatures who absorb sunlight to instead have its protagonist Cooper return to his daughter (and their farmhouse rebuilt as a museum on a spaceship playing unused Ken Burn's documentary footage, it's a whole thing) as a man-out-of-time with his robot (actually, Sir Nolan prefers the term “machine”) ex-soldier buddy TARS. Oh, and possible predestination with interdimensional book-nudging and coded dust. Special for this week's ep, listen to hear first-time pod guest Champlain Amy's hot takes before they're censored by the alphabet soup of the deep state; host Ken's longest Tarantino rant to date; other host Ryan fake it ‘til he makes it; and third host Thomas stump hard for CASE in that ongoing, friendship-ending, family-shattering, international debate between Team CASE or Team TARS. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

NOLAN VOID 5: CAN'T SLEEP? MORK WON'T HELP

Play Episode Listen Later Jun 1, 2024 64:52

Send us a Text Message.NOLANVOID FIVE!For the first in our third set of NOLAN VOID pairings this week, TGTPTU hosts Ken and Thomas take on the surprisingly linear INSOMNIA (2002) with newly appointed co-host Ryan to introduce a new drinking game guaranteed to kill any participant: take a dose of an alcohol every time Kenneth says something about not wanting to compare Nolan's adaption to the 1997 Stellan Skarsgård-starring Norwegian original… and then does exactly that. Perhaps one reason for the linearity of Nolan film starring three previous Oscar-award winners (Al Pacino, Robin Williams, and Hilary Swank) was it has the unique distinction of being his only film without a screenplay credit by. Rather, scripting the adapted Insomnia was the work of Hillary Seitz who is also credited with writing a grand total of three movies: a never-released dark comedy Early Bird Special (small role with Jon Hamm), Eagle Eye (starring Indiana Jones' son later of Transformers fame), and, in 2021, The Unforgivable (starring Sandra Bullock, Viola Davis, Vincent D'onfrio who we all know as Thor in Adventures in Babysitting), which received limited release and was Netflix top film for two weeks before being bumped by a film starring Mother!, Margaret Thatcher, Madea, Willy Wonka, Howard Hughes, and Hellboy (yes, of course, we're mentioning the unmentionable Don't Look Up). Returning from Memento are both Wally Pfister as cinematographer (and will stay with Sir Chris until DK Rises) and Dody Dorn as editor (who leaves for Ridley Scott flicks after this) while old-timer David Julyan scores again (having done so previously for both Following and Memento). This week, along with Ken gripes regularly comparing Nolan's to the original, in a surprising twist Ryan and Thomas find themselves aligned in enjoying this Americanized thriller. That Chris Nolan, don't sleep on him.THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

NOLAN VOID 2.0: MEMENTOS: THE FRESHMAKER

The Next Reel by The Next Reel Film Podcasts

Play Episode Listen Later May 10, 2024 69:39

Send us a Text Message.MEMENTOOur Nolan Void Season continues with the first of our second pairing MEMENTO (2000). Many of you might suspect we would try writing these show notes in reverse, but, as that'd be too meta for us, we'll leave that to some other aspiring writer with memory problems we know. Speaking of self-referential memory problems, Memento was actually the film that couldn't find distribution that Steven Soderberg claimed could be the bellwether of the death of the 90's indie cinema wave (see our erroneous show notes for FOLLOWING, Season 12, Episode 1).Listen past the awesome intro song for a surprise guest giving the plot synopsis this week, dogs barking not on command, and, to the eagle-eared listener, the return of the squeaky chair. Sir Nolan upon reflection stated there was a greater leap between his first feature Following and Memento than any between project. He had to trust another behind the camera (Wally Pfister, who'd shoot this and the next six Nolan films and win an Academy Award for INCEPTION) and had union rules and budgeted shooting schedules (losing some days when relocated from Canada to the States). Eventual Dame Emma Thomas would not be the executive producer as she was working at a different company. Memento also would star professional actors, a stellar lineup perhaps thanks to the early interest of Brad Pitt in the role of the Leonard instead played by the amazing Guy Pearce and costarring two actors hot off the success of the MATRIX: Carrie-Anne Moss and Joey Pants.Written concurrently with his younger brother (no “Sir”) Jonathan Nolan who'd develop his premise into a short story “Memento Mori” published in Esquire, the movie Memento follows an amnesiac and heavily tattooed protagonist Leonard (the former attribute part of but latter absent from the short story) as he pursues seeking revenge on his wife's mysterious killer, having himself somehow contracted a condition similar to Sammy Jenkins, a man who allegedly retain all of his memories up to a specific moment of trauma but afterwards could form no new memories. But is there more similarities between Jenkins and Leonard than his memory triggered by the tattoo “Remember Sammy Jenkins” allows?To unravel this story told backwards and to find a deeper understanding as its paired with next week's TENET, cohosts Ken and Thomas are again joined by the provisional host Ryan, who also recorded the intro/outro music. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Memento • Rebroadcast • The Next Reel

Play Episode Listen Later Apr 15, 2024 67:49

"You can't trust a man's life to your little notes and pictures.”REBROADCASTChristopher Nolan's second film, Memento from 2001, caught a lot of attention on its release. The clever screenplay structure where the story unfolds both forward and backward in time creates an experience much like that of our protagonist Leonard Shelby (wonderfully played by Guy Pearce), a man suffering from anterior grade memory loss. Some people said Memento was too clever for its own good or that it was all style with little substance. Others found it to be incredibly creative with a unique story exploring the psychology of our character. No matter how you approach it, Memento is a film worth looking at in greater depth. Join us – Pete Wright and Andy Nelson – as we kick off our twist endings series called ‘Spoiled. Rotten?', in which we debate if a film is ruined if you already know the twist. Pete's selection is Nolan's 2001 film Memento.Here's a hint at what we talk about.What do we think of twist endings? In the world of twist endings, what are some that work for us and some that don't? Do we find Memento to be an effective example, even if the twist ending actually happens at the midway point of the chronological story? Guy Pearce is always wonderful, but it's so great seeing Carrie-Anne Moss and Joe Pantoliano together again right on the heels of their success with The Matrix. How much do we actually understand the story and what are our opinions about what really happened with Leonard, Sammy, and the mysterious John G? Nolan started working with Wally Pfister here as his cinematographer and David Julyan composed music. Do we like the look and music? And how much do we love this film as compared to so many who clearly hate it?It's a strong entry into our catalogue and one we're glad to have discussed. The twists hold up and we have a great time talking about them. 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 SundriesLearn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.Watch this film: JustWatchScript TranscriptOriginal theatrical trailerOriginal poster artworkOriginal MaterialFlickchartLetterboxd Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Become a Member Today! $5 monthly or $55 annuallyVisit our WATCH PAGE to rent or purchase movies we've talked about on the shows that are part of The Next Reel's family of podcasts. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. Enjoy!Build your own website (or one for your granny!) with Squarespace. Try it today!Here's where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsXYouTubeFlickchartPinterestPete AndyWe spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked!You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE.Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

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Has the cult of director lost its power? (My Name is Alfred Hitchcock, North by Northwest, Inception, Reservoir Dogs)

Groovy Movies

Play Episode Listen Later Aug 31, 2023 60:26

This week we're discussing directors who have achieved cult status: the ones you can recognise within 24 frames of a film - the Taratinos, the Hitchcocks and of course, the Nolans. We come up with rules for achieving cult of director status and question if superstar directors still have power in the era of streaming services.ReferencesA quick guide to auteur theory by Jax Griffin for filminquiry.comPauline Kael's rebuttal to auteur theoryPauline Kael on Taratino and Pulp FictionChristopher Nolan: A Labyrinth of Linkages by David Bordwell and Kristen Thompson - essays looking closely at Nolan's narrative and cinematic style Wally Pfister's cinematography in Inception by Prachurya DasHitchcock's Psycho marketing campaignDramatic Tension in North by Northwest by Junming JiangThe directing and writing style of Greta GerwigFilm Pharmacy recommendationsMiss Congeniality (2000) dir. by Donald Petrie20th Century Women (2016) dir. by Mike MillsJoan Didion: The Center Will Not Hold (2017) dir. by Griffin Dunne-----------If you love what we do, please like, subscribe and leave a review!Produced and edited by Lily AustinMusic and sound by James BrailsfordLogo design by Abby-Jo SheldonFollow usEmail us

Inception | Has It Aged Well? (Special Episode!)

IVM Likes

Play Episode Listen Later Jul 18, 2023 45:02

On this special episode of ‘Has It Aged Well?' building on the hype for ‘Oppenheimer' we're all nerding out on the patron saint of the modern blockbuster: CHRISTOPHER NOLAN. We're discussing the 2010 high concept blockbuster ‘Inception' starring Leonardo Di Caprio. Joining Abbas and Urjita is comedian, writer and podcaster Shreyas Manohar. Topics discussed include: What made us fall in love with Nolan films, the perception of time in Nolan movies and how it might affect a historical like Oppenheimer, our favourite moments and performances from Inception, why the film was such a conversation starter, our expectations from Oppenheimer and much more. Don't forget to check out ‘Oppenheimer' in IMAX releasing on July 21st, 2023. Follow Shreyas here: https://www.instagram.com/shreyas_manohar/Follow Abbas here: https://www.instagram.com/abbasmomin88/Follow Urjita here: https://www.instagram.com/urjitawani/Watch the Oppenheimer trailer: https://www.youtube.com/watch?v=2CXFpWTxS3M&ab_channel=UniversalPicturesIndiaFollow Universal Pictures India here: https://www.instagram.com/universalpicturesindia/See omnystudio.com/listener for privacy information.

The Dark Knight

Movies That Make Us

Play Episode Listen Later Sep 5, 2022 59:56

Welcome back to another episode of Movies that Make Us. We're leaving behind the feel-good feelings of the last few weeks and are embracing the shadows with our discussion of The Dark Knight.This 2008 film is arguably one of the greatest sequels ever made and expands on the Gotham Christopher Nolan created in Batman Begins. You can't discuss the film without talking about the genius take that Heath Ledger brings to the Joker, but there is so much more to discuss. From the brilliant score by Hans Zimmer, to the deep, rich cinematography by Wally Pfister. What are your thoughts on the film? As always, you can reach us at podcast@moviesthatmakeus.com. Did you miss the video premier of this episode? Be sure to subscribe to our YouTube channel, and then click the little bell to receive notifications when we add a new video or go live.You can also follow our Facebook page so you can receive notifications for new audio or video of our episodes. Sometimes we are even live on Facebook, so you can give us feedback right then and there. It's pretty sweet.As always, thank you for listening, and for now, we won't see you at the movies… Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

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Michael FitzMaurice, aerial cinematographer for Top Gun Maverick, shooting second unit on The Dark Knight, and more

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Play Episode Listen Later Jun 1, 2022 65:09

Cinematographer Michael FitzMaurice is known for his aerial and second unit cinematography on huge films such as The Dark Knight, Iron Man, Godzilla: King of the Monsters and now Top Gun Maverick. In the film business, second unit and aerial cinematography are involved in all of the action shots, and as a more technically-oriented DP, Michael has been able to combine his two loves- flying and shooting movies. Michael started out learning about photography in seventh grade, and then got a job out of high school working as a PA for a production company, eventually working his way up shooting music videos and commercials. It was hard to get into aerial cinematography, but with a love of flying and a pilot's license, he was able to prove he could shoot while flying, and pilots would recommend him for aerial cinematography jobs. Aerial cinematography is a very small and select group of people, requiring a very special skill set. When shooting film in a helicopter or plane, it's tough for most DPs to focus on composing a shot in a small space that is also moving quickly and unpredictably, and not get airsick. Top Gun Maverick was hugely dependent on its aerial unit, with most of the action done as a real, practical effect. The aerial unit used two jets, a helicopter and also shot from mountaintops to capture the action as the fighter jets flew past. As a trained pilot himself, Tom Cruise actually flew the jets and did many of his own stunts. Each training jet was outfitted with six cameras to capture the action of the actors in the cockpit. Michael and the aerial crew worked on the movie for over a year, developing new, special gimbal camera systems mounted on the jets. The crew had hours and hours of pre-production meetings, to get a clear idea of the shots needed and how to accomplish them with aircraft and cameras. Michael took a lot of notes and used models to act out aerobatic maneuvers for the planes before shooting them. For Michael, one of the highlights of working on Top Gun Maverick was being allowed to fly very low over a Navy aircraft carrier, although they were not allowed to land on it. Working on Top Gun Maverick was great, but Michael's craziest movie experience was working on second unit of The Dark Knight with director Christopher Nolan and cinematographer Wally Pfister. The movie was shot in IMAX, which is a notoriously difficult format to shoot- IMAX cameras at the time had a very faulty video tap for the monitors. For the scene, Heath Ledger as the Joker blows up a hospital and walks away, all in one take. The explosion was done on a real building, rigged up with real explosives, so there were no second takes. They began the take, but as soon as they went outside, the video tap went white and they couldn't really tell if they were actually getting anything on film at all, but they kept rolling, the building exploded, and hoped the whole thing was actually caught on film- which took about two days to get the film developed and the dailies back. Luckily, it all turned out perfectly. Top Gun Maverick is currently playing in theaters. Michael FitzMaurice: Instagram @michaelfitzmaurice Find out even more about this episode, with extensive show notes and links: http://camnoir.com//ep170/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Batman no Cinema. Ep.02: A Franquia Resurge

Entendedores Ltda.

Play Episode Listen Later Mar 7, 2022 97:10

Neste episódio Arthur, André e Leo continua a trajetória do Homem-Morcego no cinema através da trilogia do Christopher Nolan, a Liga da Justiça de Zack Snyder e opiniões sobre a atual franquia do Matt Reeves. Também neste episódio: Wally Pfister cadê você? --- Send in a voice message: https://anchor.fm/entendedores-ltda/message

E33 Observer

Pixel Vision

Play Episode Listen Later Dec 25, 2021 76:51

In this special, early Christmas Day release, Ben and Tao upload themselves into neural noir, cyber arthouse, psychological horror, Observer. As they detangle the convoluted murder mystery, Ben finds his inner Luddite, Tao imagines cyber-limbed, animal-spliced, Super Tao, and discussion veers into dangerous political territory, sordid subject matters, and extensive deliberation over dystopian futurism. Story spoilers late in the pod, but it's a short game, so either play it first or don't complain! Content Warning: PEGI 17. This is seriously dark and very explicit. Sorry. Also, Tao's cat miaows offensively in the background. Clarifications: Observer music is by composer Arkadiusz Reikowski The main character is called Daniel Lazarski The upcoming ‘cyber renaissance' game from Greedfall devs, Spiders, is called Steelrising (apparently at Spiders, titles either rise or fall…) The film Ben references on the theme of uploading consciousness is Transcendence, a 2014 American science fiction thriller directed by Wally Pfister and written by Jack Paglen. Anon is a 2018 British-American science fiction thriller film written and directed by Andrew Niccol starring Clive Owen Audio extracts: 'Figment' by Simon Park (from Dawn of the Dead) Multiple tracks from Observer OST by composer Arkadiusz Reikowski Love Actually (2003) feat. Hugh Grant Iron Harvest OST The Coup - Pork and Beef Saw (2004) - and its soundtrack by Charlie Clouser So You Wanna Be A Boxer(Bugsy Malone Soundtrack) by Paul Williams (1976) ANON (2018) feat. Clive Owen Soylent Green (1973) The Herbaliser - Very Mercenary The Simpsons - ‘tis a fine barn Fitter Happier by Radiohead Paranoid Android by Radiohead Elysium A Touch of Frost by Ray Russell Harrison Ford has lost his family (My Wife! My Family! Compilation) https://www.youtube.com/watch?v=4-vjbuodBEU Alien Isolation OST by Christian Henson Toccata and Fugue in D Minor by Johann Sebastian Bach Steelrising trailer by Spiders David Fincher's Se7en (1995) Transcendence (2014) The Matrix (1999) Halo 2 Mjolnir Mix by Marty O'Donnell feat. Steve Vai HCS Raleigh 2021 Slade - Merry Christmas Everybody Patreon: https://www.patreon.com/pixelvisionpod Twitter: @pixelviz Email: pixelvisionpod@gmail.com

Cinematographer Flavio Labiano on Jungle Cruise, Timecrimes, Day of the Beast, and more

Play Episode Listen Later Aug 11, 2021 38:46

Cinematographer Flavio Labiano doesn't consider himself an artist with a capital “A” but more of a craftsperson. To him, cinematography is a craft that you learn by making mistakes and taking risks, like any other craft that you hone and improve over time. On Disney's Jungle Cruise, Flavio found the planning and pre-production stages of the huge-scale movie to be especially challenging. It was about 100 days of planning, with two different sets- one in Hawaii and one in Atlanta, Georgia, and with the second unit shooting footage in the Amazon to use as background plates. All the exterior tank work was done in front of a blue screen in a parking lot in Atlanta. The town of Porto Velho, where the jungle cruise adventure begins, was mainly shot in Hawaii. Flavio paid close attention to the orientation of the sun in order to match the set in Hawaii with the set in Atlanta. He also had to match the hard sunlight in the South to the sunlight in Hawaii, and the crew had to deal with the constant interruptions of summer afternoon rainstorms in Georgia. Flavio and Jungle Cruise director, Jaume Collet-Serra, have worked together on several films including The Shallows, another movie that takes place mostly in water. Flavio grew up in Spain, then moved to Los Angeles to attend AFI. He found his first film jobs working for Roger Corman's studio alongside Wally Pfister, Phedon Papamichael, and Janusz Kaminski. Flavio moved back to Spain for film work and has made most of his career there with movies such as The Day of the Beast, which was a huge commercial success in Spain, and Timecrimes, an exciting and mind-bending thriller. Shortly after Timecrimes, he and fellow Spaniard, director Jaume Collet-Serra began working together. Influenced by director Alfred Hitchcock, who enjoyed making thrillers with characters who are celebrities, the two made Nonstop and Unknown with Liam Neeson. You can watch Jungle Cruise on Disney+ Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep135/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

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War Stories Vol. 7: Tales from the Set featuring Wally Pfister, Phedon Papamichael, Ross Emery, Shane Hurlbut, Alice Brooks, Robbie Ryan, Christian Sebaldt, Lachlan Milne, Armando Salas, Jas Shelton, and Brandon Trost

The Next Reel by The Next Reel Film Podcasts

Play Episode Listen Later Jul 22, 2021 43:30

Special: The Cinematography Podcast- War Stories Vol. 7 In our seventh War Stories Special, we feature eleven guest's harrowing, hilarious, heartbreaking or heartwarming stories they had while on set, or a formative career experience that led them to the film industry. Find full interviews with each of our featured guests in our archives! Both cinematographers Wally Pfister, ASC and Phedon Papamichael, ASC have war stories about working on Roger Corman films in their early careers; Ross Emery, ACS talks about the groundbreaking experience of shooting bullet time for The Matrix; Shane Hurlbut, ASC on how he was convinced to shoot Drumline; Alice Brooks on how she made her decision to become a DP; Robbie Ryan, BSC, ISC reflects on experiencing personal tragedy while working on The Favourite; Christian Sebaldt, ASC had to get extremely creative with lighting a dim military barracks; Lachlan Milne, ACS, NZCS, on shooting Minari in extreme summer heat; Armando Salas, ASC also has a story on filming in high temperatures; cinematographer Jas Shelton talks about working with actor John C. Reilly on Cyrus; and finally, director and cinematographer Brandon Trost's story about meeting Lorne Michaels in a pre-production meeting for MacGruber. Do you have a War Story you'd like to share? Send us an email or reach out to us on Facebook, Twitter, or Instagram! Find out even more about this episode, with extensive show notes and links: http://camnoir.com/warstories7/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Instagram: @thecinepod Facebook: @cinepod Twitter: @ShortEndz

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Memento

Play Episode Listen Later Jun 24, 2021 62:44

Christopher Nolan's second film, Memento from 2001, caught a lot of attention on its release because of the clever screenplay structure where the story unfolds both forward and backward in time, in a way creating an experience much like our protagonist Leonard Shelby (wonderfully played by Guy Pearce), a man suffering from anterior grade memory loss. Some people said Memento was too clever for its own good or that it was all style with little substance. Others found it to be incredibly creative with a unique story exploring the psychology of our character. No matter how you approach it, Memento is a film worth looking at in greater depth. Join us – Pete Wright and Andy Nelson – as we kick off our very abbreviated twist endings series called ‘Spoiled. Rotten?', in which we debate if a film is ruined if you already know the twist. Pete's selection is Nolan's 2001 film Memento. Here's a hint at what we talk about. What do we think of twist endings? In the world of twist endings, what are some that work for us and some that don't? Do we find Memento to be an effective example, even if the twist ending actually happens at the midway point of the chronological story? Guy Pearce is always wonderful, but it's so great seeing Carrie-Anne Moss and Joe Pantoliano together again right on the heels of their success with The Matrix. How much do we actually understand the story and what are our opinions about what really happened with Leonard, Sammy, and the mysterious John G? Nolan started working with Wally Pfister here for his cinematographer. What do we think of the look? David Julyan composed music for a few films for Nolan before he switched to working with Hans Zimmer. Do we like the music? And how much do we love this film, as compared to so many who clearly hate it? It's a strong entry into our catalogue and one we're glad to have discussed. It's twists hold up and we have a great time talking about them. 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: JustWatch Script Transcript Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd

matrix discord christopher nolan rotten spoiled hans zimmer memento guy pearce carrie anne moss john g joe pantoliano andy nelson pete wright wally pfister leonard shelby next reel trustory fm next reel's discord

Memento

The Next Reel Film Podcast Master Feed

Play Episode Listen Later Jun 24, 2021 62:44

Christopher Nolan's second film, Memento from 2001, caught a lot of attention on its release because of the clever screenplay structure where the story unfolds both forward and backward in time, in a way creating an experience much like our protagonist Leonard Shelby (wonderfully played by Guy Pearce), a man suffering from anterior grade memory loss. Some people said Memento was too clever for its own good or that it was all style with little substance. Others found it to be incredibly creative with a unique story exploring the psychology of our character. No matter how you approach it, Memento is a film worth looking at in greater depth. Join us – Pete Wright and Andy Nelson – as we kick off our very abbreviated twist endings series called ‘Spoiled. Rotten?', in which we debate if a film is ruined if you already know the twist. Pete's selection is Nolan's 2001 film Memento. Here's a hint at what we talk about. What do we think of twist endings? In the world of twist endings, what are some that work for us and some that don't? Do we find Memento to be an effective example, even if the twist ending actually happens at the midway point of the chronological story? Guy Pearce is always wonderful, but it's so great seeing Carrie-Anne Moss and Joe Pantoliano together again right on the heels of their success with The Matrix. How much do we actually understand the story and what are our opinions about what really happened with Leonard, Sammy, and the mysterious John G? Nolan started working with Wally Pfister here for his cinematographer. What do we think of the look? David Julyan composed music for a few films for Nolan before he switched to working with Hans Zimmer. Do we like the music? And how much do we love this film, as compared to so many who clearly hate it? It's a strong entry into our catalogue and one we're glad to have discussed. It's twists hold up and we have a great time talking about them. 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: JustWatch Script Transcript Original theatrical trailer Original poster artwork Original Material Flickchart Letterboxd

movies hollywood film matrix discord christopher nolan rotten spoiled hans zimmer memento guy pearce carrie anne moss john g joe pantoliano film news andy nelson film commentary pete wright wally pfister leonard shelby next reel trustory fm next reel's discord

Polly Morgan ASC, BSC on shooting A Quiet Place Part II, Legion, working with John Krasinski, Ellen Kuras, Wally Pfister and more

new york city uk los angeles england buffalo shooting legion fx inception quiet place dp john krasinski afi abbot quiet place part ii krasinski where the crawdads sing kuras wally pfister

Play Episode Listen Later Jun 9, 2021 53:51

When cinematographer Polly Morgan reads a script for the first time, she finds herself immersed in images. Her cinematography draws inspiration from art and art history and she finds visuals speak to her on a fundamental level. For A Quiet Place Part II, Polly knew it was important to reference Charlotte Bruus Christensen's previous work on A Quiet Place and blend it seamlessly with her own style. Each DP has their own cinematic look, and she was able to settle into her cinematographic method once the family leaves the farmhouse in the film. From the very beginning, Polly talked with director John Krasinski about making the film as immersive and subjective to the characters' experience as possible. A Quiet Place achieved that look with Charlotte's primarily handheld, tightly eye-level and over-the-shoulder camerawork. With A Quiet Place Part II, Polly wanted to expand the feel of the camera as the Abbot family's world grows a bit larger. At its heart, the film is still a family drama about a mother and her children, although there's a lot more action in Part II compared to the first movie. She included many long oners that start wide and then push into a closeup, combining a slow methodic camera with fast paced, quick cuts to create a push and pull with the viewer's emotions to keep them on the edge of their seats. Polly and Krasinski decided to never cut away separately to the creatures or the source of the danger- they always keep the danger within the character's frame, with no escape from what is happening, which keeps it as close and immersive as possible. She and Krasinski prepped for a few weeks in New York City to discuss the look of the film, before going to Buffalo to shoot. They talked about the movie's rhythm, starting with a slower pace for the prologue, giving the audience a feel for the Abbot's town and the community before the monsters arrive. Polly found the script very descriptive, providing a roadmap for the composition. Krasinski was also clear on how much coverage for each scene was needed, and they would often shoot a scene in one shot, then move on. Polly grew up in the countryside in England and loved watching movies as a child. As a teen, a film crew used their farmhouse as basecamp, and she was fascinated to see how movies get made. She knew then that she wanted to pursue a film career. After university in England, she came to Los Angeles to attend AFI, but needed a job between semesters to afford school. Polly learned that Inception was going into production in England, found Wally Pfister's email, and he hired her as a camera assistant on the film, which served as a great learning experience. When she was first starting out, Polly found it hard to find steady work, but she was able to work on projects in the UK and bounce back and forth until she was hired to shoot season three of Legion on FX. Polly loved the visual surrealistic storytelling of Legion, where the camera plays such an important role in creating the practical visual effects for the show. She was also pleased to have the opportunity to DP for director and cinematographer Ellen Kuras who directed an episode of Legion. Polly is currently shooting the film, Where The Crawdads Sing. You can watch A Quiet Place Part II currently playing in theaters. Find Polly Morgan: https://www.pollymorgan.net/ Instagram @pollymorgan Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep127/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com YouTube: https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Jess Hall, ASC, BSC: Marvel’s WandaVision, Hot Fuzz, working with Edgar Wright, Wally Pfister and more

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Play Episode Listen Later Jun 2, 2021 63:15

For the Disney+ series WandaVision, cinematographer Jess Hall had the opportunity to create the most avant-garde looking project in the Marvel Cinematic Universe. Jess explored every era of sitcom television to create seven different looks for WandaVision, ranging from the 1950's all the way through the 2000's. Each episode's look came down to researching the film stock, lenses, aspect ratio, the lighting, and whether it was shot with three cameras or a single camera. WandaVision director Matt Shakman was able to give Jess plenty of sitcom television research material and ideas, since Jess did not grow up around American T.V. One of the biggest visual touchstones for Jess for the earliest episodes of WandaVision was viewing a print from the original negative of the 1960's show, Bewitched. He found the black and white image to look warmer than modern day black and white- the contrast in the whites weren't quite as cold. Jess tested a number of vintage lenses and ended up using 47 different lenses over nine episodes, even having Panavision create a set of lenses reconstructed from older lens elements. He also used lighting technology that fit each time period, including early diffusion techniques over the lights to create the look. Jess grew up in England and studied film at St. Martins School of Art, embracing film more as an expressive art form. After graduating, he began shooting shorts and commercials, and then had the opportunity to shoot his first feature film, Stander, with director Bronwen Hughes. Stander is a biopic about a police officer in apartheid South Africa who becomes a bank robber. Jess' next film was Son of Rambow, a coming-of-age story about two boys making a home movie. Jess and Son of Rambow director Garth Jennings went to St. Martins together. Jennings carefully storyboarded the whole movie, but once they were actually shooting, they did not strictly follow the storyboards. Jess credits director Edgar Wright with being the most accurate storyboard-to-execution director he's ever worked with, which is important because Wright likes to work fast with many setups and quick cuts. On the movie Hot Fuzz, Jess accomplished over 30 setups per day, and famously did 50 setups in one day. He would try to light the room simply, and worked with camera operators who were used to shooting fast action movies. For the film Transcendence, cinematographer turned director Wally Pfister asked Jess to shoot his first film as a director, after seeing Jess' work on Brideshead Revisited. Jess was flattered, and found it wonderful to be able to communicate in a technical shorthand and to see up close how another DP works and thinks. Find Jess Hall: http://www.jesshalldop.com/ Instagram @metrorat You can watch WandaVision streaming on Disney+ Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep126/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com YouTube: https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Cinema na Radio - Sessão 08: Transcendence: A Revolução (2014)

RadioSelf

Play Episode Listen Later May 5, 2021 53:54

Nesta sessão, o Cinema na Radio traz comentários, análises e curiosidades do filme Transcendence: A Revolução (2014), do diretor Wally Pfister. O dr. Will Caster é o mais famoso pesquisador mundial sobre inteligência artificial da atualidade. Ele pesquisa, junto à esposa Evelyn, a construção de uma máquina consciente que conjuga informações sobre todo tipo de conteúdo com a grande variedade de emoções humanas. Classificação indicativa: 12 anos Elenco: Johnny Depp, Rebecca Hall, Cillian Murphy, Paul Bettany Participantes: Bruno Cury, Lucas Albertoni, Yasmin Martins Editado por: RadioSelf Instagram: @radio.self E-mail: contato.radioself@gmail.com

074 | Inception ft. Luke Hogan

Rules of the Frame

Play Episode Listen Later Apr 11, 2021 109:06

Connor & Jon discuss their pick for the most impactful film of the 2010's with their good friend Luke Hogan. Together they discuss the impact this film had on their lives and social circles, as well as how it's impacted society as a whole. Plus it also gave us one of the greatest apps ever created, R.I.P.WARNING: Major spoilers for Inception, minor spoilers for Shutter Island & The Big LebowskiFollow Suite 25:Spotify: https://open.spotify.com/artist/7HEdFdon42QifJyEZxAIpE?si=dx6caME6SUOdr_AgDmdg5wFacebook: https://www.facebook.com/Suite25Instagram: https://www.instagram.com/suite25music/YouTube: https://www.youtube.com/channel/UC5ubX1M2XwK1OVhkcC0k92QFollow us:Facebook: https://www.facebook.com/rulesoftheframe/ Instagram: https://www.instagram.com/rulesoftheframe Twitter: https://twitter.com/RulesOfTheFrame YouTube: https://www.youtube.com/channel/UCII7_Fevn8na1ZkXyfUeTQA/featuredFilms mentioned in this episode:--------------------------------Inception (2010) | Dir. Christopher NolanMad Max Fury Road (2015) | Dir. George MillerStar Wars: Episode VII - The Force Awakens (2015) | Dir. J.J. AbramsApocalypse, Now (1979) | Dir. Francis Ford CoppolaShutter Island (2010) | Dir. Martin ScorseseEternal Sunshine of the Spotless Mind (2004) | Dir. Michael GondryGravity (2013) | Dir. Alfonso CuaronInsomnia (2002) | Dir. Christopher NolanThe Big Lebowski (1998) | Dir. Joel & Ethan CoenThe Dark Knight Trilogy (2005 - 2012) | Dir. Christopher NolanThe Sixth Sense (1999) | Dir. M. Night ShyamalanMemento (2000) | Dir. Christopher NolanThe Prestige (2006) | Dir. Christopher NolanTenet (2020) | Dir. Christopher NolanFollowing (1998) | Dir. Christopher NolanDonnie Darko (2001) | Dir. Richard KellyDunkirk (2017) | Dir. Christopher Nolan2001: A Space Odyssey (1968) | Dir. Stanley KubrickStar Wars (1977) | Dir. George LucasSource Code (2011) | Dir. Duncan JonesAvengers: Endgame (2019) | Dir. Joe & Anthony Russo1917 (2019) | Dir. Sam MendesLooper (2012) | Dir. Rian JohnsonHer (2013) | Dir. Spike JonzeEx Machina (2014) | Dir. Alex GarlandTotal Recall (1990) | Dir. Paul VerhoevenCasino Royale (2006) | Dir. Martin CampbellBatman v Superman: Dawn of Justice (2016) | Dir. Zack Snyder

Best Of 2020 featuring Bradford Young, Kira Kelly, Greig Fraser, Anthony Dod Mantle, Wally Pfister, Brendan Davis, Don Coscarelli, Frederick Wiseman, Iris Ng, Bruce Van Dusen, Julie Taymor and Ron Howard

SAG-AFTRA Foundation Conversations

Play Episode Listen Later Jan 6, 2021 93:36

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

new york city stories china star wars lion mandalorian ron howard undoing ava duvernay roger corman beastmaster don coscarelli glorias julie taymor frederick wiseman van dusen coscarelli greig fraser wally pfister ex lax brendan davis bradford young anthony dod mantle

Conversations with Rebecca Hall (2016)

Play Episode Listen Later Dec 29, 2020 58:59

Career Q&A with Rebecca Hall on November 11, 2016. Moderated by Stacey Wilson Hunt, New York Magazine. Rebecca Hall is an acclaimed British-American actress who was recognized almost immediately as one of the most exciting actresses of her generation. In a career that encompasses the multiplex, the art house cinema, and the world’s most respected theaters, she has worked with many of the industry’s greatest artists and established herself as a leading talent, one who continues to challenge herself with each new role. This fall, she stars in Antonio Campos’ Christine, with Michael C Hall, Tracy Letts and Maria Dizzia. Based on events in the life of Christine Chubbuck, the film follows a young, hard-working and troubled newscaster at a small town television station in the 1970s. The film premiered at the 2016 Sundance Film Festival and Orchard will be releasing it theatrically October 14, 2016. Hall recently wrapped lensing the independent feature Permission, with Dan Stevens, Gina Gershon, and Jason Sudeikis. The film-in which she stars and which she also produced-is the story of a couple, Anna (Hall) and Will (Stevens), who have only ever been with each other. On Anna’s thirtieth birthday, a friend jokes that they should sleep around before their inevitable marriage. The joke lingers and eventually Anna proposes that they try it. As they venture outside the boundaries of monogamy they are forced to evolve and finally, grow up. She has also completed production on The Dinner, a mystery thriller based on Herman Koch’s novel of the same name. Directed by Oren Moverman, the film explores the lengths to which some parents will go to protect their children. Hall was recently seen starring alongside Jason Batman and Joel Edgerton in his box office smash thriller The Gift. Hall and Bateman play a young married couple whose lives get turned upside down when an acquaintance from the husband's past brings mysterious gifts and a horrifying secret to light after more than twenty years. She was also recently seen in Steven Spielberg’s The BFG, with Mark Rylance and Ruby Barnhill. The film is an adaptation of Roald Dahl’s children’s book classic, in which a Big Friendly Giant and an orphan girl he befriends set out to take on people-eating giants who plant to take over the world. On screen, Hall received critical acclaim for her starring role in Woody Allen's Vicky Cristina Barcelona alongside Penelope Cruz, Scarlett Johansson and Javier Bardem. For her performance, she received Golden Globe, BAFTA Orange Rising Star, London Critics Circle and Gotham Award nominations in the performance and breakthrough categories. Hall’s other film credits include Sean Mewshaw’s Tumbledown opposite Jason Sudeikis; Wally Pfister's directorial debut Transcendence, opposite Johnny Depp and Paul Bettany; Patrice Leconte's A Promise, starring alongside Alan Rickman; John Crowley’s Closed Circuit; Shane Black's Iron Man 3; Stephen Frears' Lay the Favorite; Nick Murphy's The Awakening, for which she earned a British Independent Film Award Nomination and Gotham Independent Film Award nomination for Best Actress; Ben Affleck's The Town, which received the 2010 National Board of Review Award for Best Ensemble; Dan Rush’s Everything Must Go; Nicole Holofcener's Please Give, for which the cast and filmmakers were honored with the Independent Spirit Robert Altman Award and a Gotham Independent Film Award nomination for Best Ensemble Performance; Oliver Parker's Dorian Gray; Ron Howard's Frost/Nixon; for which she shared in a Screen Actors Guild Award nomination for Outstanding Cast Performance; Christopher Nolan's The Prestige, for which she received UK Empire Award and London Critics Circle Award nominations for Best Newcomer; and Tom Vaughan's Starter for 10, her feature film debut.

conversations gift iron man dinner awakening golden globes johnny depp permission steven spielberg directed christopher nolan ben affleck scarlett johansson starter woody allen lay prestige roald dahl ron howard new york magazine sundance film festival transcendence orchard moderated alan rickman best actress bateman national board shane black javier bardem dorian gray jason sudeikis paul bettany joel edgerton bfg rebecca hall dan stevens british americans penelope cruz mark rylance screen actors guild awards stephen frears gina gershon michael c hall everything must go best newcomer frost nixon tracy letts nicole holofcener john crowley gotham awards nick murphy patrice leconte best ensemble vicky cristina barcelona herman koch christine chubbuck anna hall closed circuit wally pfister tumbledown tom vaughan oliver parker big friendly giant oren moverman ruby barnhill

Phedon Papamichael is an Actor's Cinematographer. What Does That Mean?

The No Film School Podcast

Play Episode Listen Later Nov 25, 2020 61:45

Phedon Papamichael's career as a cinematographer goes back to the 80's, but he's still a go-to DP for the best filmmakers in the business. You might call him an “actor's cinematographer” or a stylistic chameleon. Phedon talks about his approach to the craft: rather than trying to put his visual stamp on a movie, his goal is to serve the story and overall vision. He compares his experiences working with Alexander Payne, George Clooney, Aaron Sorkin and James Mangold -- and what it was like juggling the massive personalities on the set of Sorkin's The Trial of the Chicago 7. Phedon and recalls his early days shooting stripper-centered B-movies under Roger Corman's tutelage — with Wally Pfister and Janusz Kaminski as his camera crew. This is a masterclass in what it means to be an A-list cinematographer. Don't miss this one: Phedon is the man. Please email us any questions or comments at ask@nofilmschool.com! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Wally Pfister, director/cinematographer PART 2: Inception, Moneyball, The Dark Knight Rises, winning an Oscar, moving into directing, and listener questions

Play Episode Listen Later Nov 25, 2020 60:26

We continue our conversation with Oscar winning cinematographer Wally Pfister- don't miss Part 1. When much of the film world was going digital, Christopher Nolan and Wally began to experiment with large-format IMAX cameras. They had used the IMAX format for some of the visual tricks on The Prestige, and Wally was excited to try shooting more on The Dark Knight and The Dark Knight Rises. Wally did lots of tests with lighting and specially created IMAX lenses, which have a massive frame and shallow depth of field. Just after The Dark Knight, Wally was hired to DP Moneyball with director Bennett Miller. He decided to take a more dramatic and moody approach for lighting the baseball games, rather than using conventional, flat stadium lighting. After doing some tests, he was able to convince Miller that the scenes still looked like a baseball stadium, only better. Once Wally saw the script for Inception, he knew there would be several logistical challenges: shooting hand-held chase scenes in the snow, and of course, the rotating hallway scene. Christopher Nolan still preferred to do most of what was seen on-screen in camera, as a practical effect rather than with computer generated VFX added later. Nolan wanted a James Bond aesthetic for the film, with naturalistic lighting and a loose, hand-held feel. It was Wally and Nolan's sixth film as a team, so it was easy to work together during pre-production, even while working out the most technical scenes. A huge rotating rig was built for the famous gravity-defying hallway scene. Wally installed practical lighting into the rotating cylindrical set, with one camera affixed to the floor, so it does not appear to rotate, and a second camera that rotated with the set. Wally won the Academy Award for Best Cinematography for Inception, after being nominated four times. It was a huge honor, and he was very proud of his work on the film. Once he'd won, it changed his life- so much so, he decided to move into directing. He directed his first feature film, Trancendence, starring Johnny Depp and executive produced by Nolan. It was a huge challenge for him to let go of being in control of the photography and to find the right DP and a good camera operator. Since directing Trancendence, Wally has enjoyed directing commercials. But on set, he'll still act as director of photography, lighting the sets, and directing the actors and the camera operator while watching on the monitors. Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep102/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Wally Pfister, director/cinematographer PART 1: working with Christopher Nolan, Memento, Insomnia, Batman Begins, The Prestige and more

movies action film adventure sci fi guardians of the galaxy christopher nolan nah inception american society cinematographers wally pfister

Play Episode Listen Later Nov 19, 2020 82:01

Wally Pfister grew up loving movies, and couldn't wait to become a filmmaker. The son of an ABC news journalist, Wally got his start as a news production assistant in Los Angeles, and he worked his way up to become a news cameraman. He attended American Film Institute, where he met fellow filmmakers Janusz Kaminski and Phedon Papamichael. Together they began working for Roger Corman's Concorde/New Horizons production company based in Venice, CA, cranking out as many as twelve B-movies per year. Wally would leave the studio literally splattered in fake blood, but he knew low-budget filmmaking work was essential for having the freedom to learn lighting and shooting while on the job. Even with his prestigious degree from AFI, Wally knew it didn't make him a filmmaker- he still needed to learn and hone his craft before moving on to bigger projects. Those opportunities came once Phedon Papamichael brought him on as a camera operator for Phenomenon and While You Were Sleeping. Wally loved the independent films of the 1990's, and was happy to work as director of photography for The Hi-Line, a well-received indie feature that won awards at several film festivals. Director Christopher Nolan saw the film, and approached Wally to shoot Memento. Memento blends black and white with color cinematography, to show the main character's broken memory as he tries to piece together who killed his wife. Nolan had purposefully scripted it so that the color sequences shown in the film are in reverse order while the black and white scenes are chronological. Wally and Chris Nolan both preferred taking a naturalistic approach to lighting and camerawork, and Wally's experience of working fast enabled them to shoot in just 25 days. Insomnia was a big jump for Wally and Christopher Nolan into a bigger budget movie, especially with stars such as Al Pacino and Robin Williams attached. This time, Wally had the budget, the time and the ability to make a great movie. Insomnia uses light rather than darkness as a way to build tension- it takes place in midsummer Alaska, when the sun never sets. Wally used key lighting in certain scenes to enhance the performance of Pacino, whose detective character is quite literally hiding from the light, as his guilt and exhaustion spirals down into madness. The next project Christopher Nolan and Wally collaborated on was a huge Hollywood movie: Batman Begins, which relaunched the Batman franchise after nearly ten years. Even though Batman is a superhero/comic book movie, Nolan still wanted to take a gritty and naturalistic approach- he never wanted the cinematography to get in the way. Wally kept the movie dark and rough, rather than glossy and stylized in contrast to the previous Batman movies. Very little of Batman Begins used computer generated visual effects- Chris Nolan prefers to do all effects in-camera when possible and used models and miniatures, as in the train derailment sequence. For The Prestige, the production crew scouted locations in Los Angeles, and found old theaters and the Universal backlot to make it seem like Europe at the turn of the century. Again, Nolan wanted The Prestige to look natural and loose, with much of the film hand-held, even when Wally was on a crane. Wally used lanterns and natural light to illuminate most scenes, and every magic trick was done in-camera, with no special effects. The Prestige earned Wally his first Academy Award nomination. Listen for Wally Pfister, Part 2, coming next week! He talks about Inception, Moneyball, The Dark Knight Rises, Trancendence and more! Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep101/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

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Inception

More Movies Please!

Play Episode Listen Later Nov 2, 2020 56:00

On the podcast this week, Steven and Sean are going deep, deep, deep into our dreams in the 2010 film from Christopher Nolan, Inception. What more can be said about this film that hasn’t already been said? I mean, it’s Inception for crying out loud! Say what you will about the various Nolan Batmens, this might be the one that really put him on the map. In fact, we should probably start designating world time as B.I. and A.I.: Before Inception and After Inception. The world of this film is fascinating. It’s instantly recognizable, and yet it’s full of this future technology that allows people to slip into the dreams of others. It’s a testament to the writing prowess of Christopher Nolan that he’s able to construct this fantastic technology and make it seem like the most natural, obvious thing. With each new level these people travel to, the more we understand and believe this dream-sharing thing. By the end of it, we almost take it for granted. I mean, hats off to Nolan for that one. Is it any wonder that he was nominated for a Best Original Screenplay Academy Award? We think not. We thought everything about this film was well done. It’s remarkable how adept Nolan is at being his own dream architect. We loved every performance given in this film. Seriously, there is no standout performance in it because they’re all standout performances. The cinematography is astounding; is it any wonder that D.P. Wally Pfister won an Oscar for this one? The soundscape is legendary and award-winning for a damn good reason. The visual effects are mind-blowing while also being completely believable…somehow. I mean, the city folding in on itself? How cool was that? This film, as with any other film, may have its flaws—exposition much?—but none of them feel like they’re enough to turn this into a chore to get through, much less a bad film. Nah, this one always goes by in an engrossing flash, and it’s two and a half hours long! If you haven’t seen it in a while, and especially if you haven’t ever seen it, then treat yourself to a trip down the dream rabbit hole. (Recorded on September 14, 2020) Links to Stuff We Mentioned: Inception - IMDb Inception trailer - YouTube The Architecture of Inception infographic, by Rick Slusher - Fast Company This is a beautiful and elegant visual explanation of the dream levels in the film. You owe it to yourself to check out this wonderful bit of graphic design, even if you already know how the dream levels work. Christopher Nolan - IMDb The Sixth Sense - IMDb The Dark Knight Rises - IMDb The Dark Knight - IMDb Inception Limited Edition Briefcase - Amazon Blade Runner - IMDb Blade Runner (Five Disc Ultimate Collector’s Edition) - Amazon Dexter Blood Slide Box Set - Amazon Scrubs - IMDb I Love Lucy - IMDb CBS All Access Memento - IMDb Kill Bill: Vol. 1 - IMDb House of Blue Leaves - Fandom Dream Is Collapsing scene | Inception - YouTube Tenet - IMDb The Ending of 'Inception' Explained - Film School Rejects M.C. Escher - Wikipedia Scarecrow (Nolanverse) - Fandom The Lion King - IMDb Guardians of the Galaxy - IMDb Dream Thieves - American Cinematographer This is a feature article about the cinematography of Inception. It’s from a monthly magazine published by The American Society of Cinematographers and is well worth your time. SoundWorks Collection: The Sound of Inception - Vimeo Ready Player One - IMDb Follow Us: Give us a rating and review on Apple Podcasts! Our Libsyn site! Our Instagram profile! Our Twitter profile!

Transcendence

Below Freezing

Play Episode Listen Later Jul 14, 2020 62:53

They say money can’t buy everything – so I guess we shouldn’t be surprised when $100,000,000 can’t buy a coherent movie (even though said movie had a LOT going for it). Which movie is this? Why it just so happens to be Wally Pfister’s directorial-debut and Johnny Depp led “Transcendence”. During the episode, Adam and Melissa declare that Morgan Freeman is actually God, talk about Y2K, and discuss just how far they would go to save humanity. Also, this week the St. Johns indulged in a 2016 red blend from Alexandria Nicole. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

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3: Director Wally Pfister (Transcendence)

Let's Get To It: An Arts & Culture Podcast

Play Episode Listen Later Jun 8, 2020 94:51

Academy Award winner Wally Pfister (The Dark Knight Trilogy, Inception, Transcendence) is an American cinematographer, director, and musician. Wally chats with Portbox to discuss the preservation of art as an individual, and the origins of his cinematic career. Madhav asks about an artist's need to have control over one's craft, and Wally expands on his decision to become a director. The two talk about how this pandemic will change filmmaking, while Wally continues to share wisdom from his accumulated experiences in the industry. They bond over the love for music and Bob Dylan. On Wally's side, some rice gets overcooked, and later, he jams on his guitar while Madhav shuffles through the questions from the audience. Madhav's partner, Bailey, also makes a brief appearance on this episode.

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Inception & The Dark Knight cinematographer Wally Pfister

Candela: Photography & Cinematography Masters

Play Episode Listen Later May 26, 2020 64:26

Academy Award-winning cinematographer Wally Pfister talks to hosts Alan Schaller & Christopher Hooton about his collaborations with Christopher Nolan, his beginnings as a news cameraman, a life-changing chance meeting with Robert Altman, managing to surprise Sir Michael Caine with unscripted camera movements, and what it was like seeing Heath Ledger's Joker character in front of the lens for the first time.

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Jacqueline Dalunde - Founder & Executive Producer of apparentlyjack

Life With C**a

Play Episode Listen Later May 8, 2020 59:20

Jacqueline Dalunde is the founder and Executive Producer of apparentlyjack, a production and development company based in LA. I've known Jack for quite some time and feel fortunate to consider her a friend and ally. She was one of my first interviews when I started the pod. I was a HOT MESS. Talk about mistakes. I had major technical issues, the room we chose was echo AF. I felt really embarrassed. Think: overly dramatic/existential "why even bother doing this" vibes.⁣⁣ ⁣⁣ Yet, she stayed cool, calm, and collected. Classy lady. ⁣⁣ We decided to re-record, however, mostly because it's been a year and a half since and so much has changed in her life.⁣⁣ ⁣⁣ She now lives in Sweden, which proved serendipitous timing. Nordic countries have been able to keep production active during Covid-19, so she gives us an insider look as to what that means. Her background spans almost every aspect of the filmmaking process from development to delivery, in both the branded and Independent film/television spaces. She got her start in 2011 working with producer Chris Gibbin. Together, they collaborated with top cinematographers in the business (Wally Pfister, Janusz Kaminski and Phedon Papamichael) on a content series called Advanced Filmmaking. Some time later, she became Head of Production at LA-Based Agency Something Massive. She built the video & photo departments from the ground up while developing/producing features, shorts and branded content for Fortune 500 companies. With 10+ years in the film and advertising industries, Jacqueline decided to go out on her own to form the content studio apparentlyjack. It’s mission is to produce and develop cinematic storytelling and storyline driven content in a variety of formats. During our hour together, Jack shines a bright light on the importance of talking to each other. Seems obvious, but you'd be surprised.⁣⁣ It is only through discussion (and action), that we can de-stigmatize mental health, grow from our mistakes, and get closer to achieving inclusion and gender parity in front and behind the camera.⁣⁣ Can’t wait to hear what you think of this week’s episode! Beijos, Caca

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Mount Rushmore: Inception

Coldbow Podcast

Play Episode Listen Later Aug 27, 2019 85:04

Inception (2010) was Christopher Nolan's smash hit that immediately followed The Dark Knight. Inception boasts an all star cast of Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page, Tom Hardy, Cillian Murphy, Marion Cotillard, Ken Watanabe, and Michael Caine. It was released to critical acclaim (currently 87% on Rotten Tomatoes) and audience approval (91%). It has a stellar score composed by Hans Zimmer and incredible cinematography by Wally Pfister. Troy submits this film to Jake, Chris, and Scott for the 3rd entry in the presitgious Coldbow Mount Rushmore. As Troy finds out, it's not a perfect film, but he still believes it is - is it the hill he's willing to die on? Listen to find out.

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Memento and Bleed American by Jimmy Eat World

2001 The Podcast

Play Episode Listen Later Aug 25, 2019 134:13

Guest - Sergio Maggi - Editor - thespian resume talk - Rock talk, ending the Memento release date debate - putting your head up your ass in a good way - the golden age of DVD packaging - how long is a movie, anyway? - OG Lion King appreciation - everyone forgot about Insomnia - it’s about damn time for Stunt Oscars - Wally Pfister appreciation, remembering Transcendence - Carrie-Anne Moss, Nolan loves intense blue-eyed brunettes - Joey Pants appreciation - Alex coins the Nolan Perception Trilogy - shitty motels in the valley are cool now - most of LA kinda looks like ass - Joey Pants and Guy Pierce hairCast - CarCast, British Racing Green Jaguars only please - plugging a movie premiere twitter account that is now suspended - The famous Justin and Britney denim outfits, Mark Boone Jr talk - the barista uniform, talking tattooos, pitching Memento spinoffs - Joyce/Winona Ryder appreciation, shopliftingCast - everything is gonna be fine - handwritingCast, Oceans movies talk - when your movie needs a lazerbutt - dropping Leibovitz references - Harmony Korine appreciation - Jimmy Eat World talk - Blink 182 un-appreciation, Dads who love The Beatles - cool album covers - are you from the Berenstein or Berenstain universe? - Jimmy Eat World music video talk - throwing some Journey shade, pondering the death of the influencer

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CDF01 - Et si l'intelligence artificielle détruisait l'humanité ?

Play Episode Listen Later Feb 20, 2018 16:34

Pour ce premier épisode, partons des formidables robots d'Interstellar à l'intelligence et l'humour aiguisés pour nous demander si les Intelligences artificielles en fort développement aujourd'hui finiront par se transformer en Terminator et autres Skynet. Nos références de l'épisode (par ordre de citation) : Interstellar (Film) - Christopher Nolan - 2014 I, robot (film) - Alex Proyas - 2004 Transcendance (film)- Wally Pfister - 2014 L'homme bicentenaire (Roman) - Isaac Azimov - 1976 L'homme bicentenaire (Film) - Chris Colombus- 1999 Johny Five (Film Short Circuit) - John Badham - 1986 Wall-E (Film d'animation) - Andrew Stanton - 2008 Real Humans (Série télévisée) - Harald Hamrell et Levan Akin - 2012 Terminator (Film) - James Cameron - 1984 Idiocracy (Film) - Mike Judge - 2006 La guerre éternelle (Roman) - Joe Haldeman - 1974 Star-Trek (Série télévisée) - Gene Roddenberry - 1960 Matrix (Film) - Larry et Andy Wachowski - 1999 Person of interest (Série télévisée) - Jonathan Nolan - 2011 Battlestar Galactica (Série télévisée) - Ronald D. Moore - 2004 Terminator : Les Chroniques de Sarah Connor (Série télévisée) - Josh Friedman - 2008 Cyrano de Bergerac (Roman) - Edmond Rostan - 1897

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CDF12 - Santé du futur, si la mort était condamnée

Play Episode Listen Later Feb 20, 2018 9:31

Douzième épisode du CDF où nous nous intéressons à la santé, à la médecine, à l'immortalité. A l'avenir, nous soignerons les corps et nous préviendrons les maladies. Pour aller plus loin, faudra-t-il aussi utiliser l'eugénisme pré-natal pour éviter des handicaps ? Si vous aimez cet épisode, abonnez-vous à la chaîne, partagez, mettez des pouces verts et mangez des kiwis ! Merci. Nos références de l'épisode (par ordre de citation) : La guerre éternelle (Roman) - Joe Haldeman - 1974 Repo Men (Film) - Miguel Sapochnik - 2010 Transmetropolitan (Bande-dessinée) - Warren Ellis - 1997 Cyberpunk 2020 (jeu de rôle)- Mike Pondsmith - 1988 Johnny Mnemonic (Film) - Robert Longo - 1995 Inspecteur Gadget (Dessin-animé)- Bruno Bianchi et Andy Heyward et Jean Chalopin - 1983 Bienvenue à Gattaca (film) - Andrew Niccol - 1998 Timeout (Film) - Andrew Niccol - 2011 Elysium (Film) - Neill Blomkamp - 2013 L'homme bicentenaire (Roman) - Isaac Azimov - 1976 L'homme bicentenaire (Film) - Chris Colombus- 1999 Chappie (Film) - Neill Blomkamp - 2015 Transcendance (film)- Wally Pfister - 2014 Aliens, le retour (Film) - James Cameron - 1986

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CDF12 - Santé du futur, si la mort était condamnée

Play Episode Listen Later Feb 20, 2018 9:31

Douzième épisode du CDF où nous nous intéressons à la santé, à la médecine, à l'immortalité. A l'avenir, nous soignerons les corps et nous préviendrons les maladies. Pour aller plus loin, faudra-t-il aussi utiliser l'eugénisme pré-natal pour éviter des handicaps ? Si vous aimez cet épisode, abonnez-vous à la chaîne, partagez, mettez des pouces verts et mangez des kiwis ! Merci. Nos références de l'épisode (par ordre de citation) : La guerre éternelle (Roman) - Joe Haldeman - 1974 Repo Men (Film) - Miguel Sapochnik - 2010 Transmetropolitan (Bande-dessinée) - Warren Ellis - 1997 Cyberpunk 2020 (jeu de rôle)- Mike Pondsmith - 1988 Johnny Mnemonic (Film) - Robert Longo - 1995 Inspecteur Gadget (Dessin-animé)- Bruno Bianchi et Andy Heyward et Jean Chalopin - 1983 Bienvenue à Gattaca (film) - Andrew Niccol - 1998 Timeout (Film) - Andrew Niccol - 2011 Elysium (Film) - Neill Blomkamp - 2013 L'homme bicentenaire (Roman) - Isaac Azimov - 1976 L'homme bicentenaire (Film) - Chris Colombus- 1999 Chappie (Film) - Neill Blomkamp - 2015 Transcendance (film)- Wally Pfister - 2014 Aliens, le retour (Film) - James Cameron - 1986

CDF01 - Et si l'intelligence artificielle détruisait l'humanité ?