“This is not just a magazine. This is a shining beacon of hope for… Oh, I don’t know… let’s say a young boy growing up in Rhode Island with six brothers, pretending to go to soccer practice when he was really going to sewing class and reading Runway under the covers at night with a flashlight.” – The Devil Wears Prada (2006)
mamma mia: here we go again was a good movie with some great 70s Looks and great bops and I will not hear otherwise
“We looked initially at David Lean’s B&W classics, such as Great Expectations (1946) and Oliver Twist (1948), both shot by the amazing Guy Greene. They’re timeless, the cinematography is stunning, and they set very high bar to reach in they way they evoke emotions.
However, B&W movies are not the perfect visual references to show to studio executives wanting to make a big budget production in colour. So we also talked about certain painters that Ken [Branagh] and Dante [Ferretti, production designer] had in mind. The usual references for candle-lit period dramas are Flemish painters, such as Rembrandt and Vermeer. But these have been done many times over, and were not playful enough for Disney. That was the trick. For the more joyful moments in the movie, they asked me to consider the paintings of Fragonard, an often-overlooked artist. Fortunately, the UK has many of his works at The Wallace Collection in London. The Fragonards are colourful and playful, and I could see how they could open-up new cinematographic opportunities. The “The Swing” in particular, is slightly naughty and flirtatious, and there’s a direct reference to it in the movie.
For the darker, more wretched moments in the movie, we again avoided the typical references, and looked at the works of the French Baroque painter Georges De La Tour. They are unusual, dark, but with bold lighting and strong compositions. I’ve loved his work since being a student at Central St Martin’s and “Joseph The Carpenter” is a masterpiece.
Whilst these painterly references gave us two strong starting points to counterpoint the joy and drudgery within the story, we also wanted a way to treat the seemingly benign but evil step-mother – for her to appear more like a film noir femme fatale. So I suggested that we also consider the portraiture work of Joseph Walker, cinematographer on many of Frank Capra’s best-loved movies, inventor of the zoom lens, and a forerunner of the Hollywood glamour look, and also the large format portrait photography of George Hurrell, upon whom Walker had great influence.” — Haris Zambarloukos on finding the looks for the movie
Anyone got suggestions for creepy documentaries im in the mood
here you go
not scary scary but its unsettling
What the fuck
Im watching this immediately this looks freaky as shit thank you
I saw this documentary at Sundance when I was working the festival, and every single screening of this film had heightened security, as well as bag and pocket checks before entering the theatre.
Why? Because earlier on in the festival, one of the people from Jane O’Brien Media (the company behind the “tickle cells”) was in the audience disrupting the screening.
At other festivals people from Jane O’Brien Media were kicked out for bringing recording devices into screenings with coffee cups and for continuously attempting to sabotage festival screenings. They hijacked the Q&A at a screening in Los Angeles, where they spent the Q&A portion threatening legal action against the filmmakers.
Not only a great “the truth is stranger than fiction” doc, but an absolutely crucial film to watch in an age where digital media has the power to be used for coercion. There’s a reason why those profiled didn’t want this doc getting out.
You know when you can just tell the artist/writer behind a scene has actually been in love before, and then again when they really haven’t? This one has.
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