We chat with the Emmy-nominated cinematographer about blending the emotions of her characters with her locations.
By Meg Shields
Sure, you’d watch a film shot on an iPhone, but what if it were shot vertically?
We chat with the cinematographer about building a visual language for the second season of ‘Hanna’ without betraying the first season.
We chat with the cinematographer about the lenses required to masquerade the very warm West Coast for the treacherously cold East Coast.
We chat with the director about why she chose the impossible task of shooting two versions of her film.
We chat with the cinematographer about the lovely landscape of darkness needed to bring big screen art to the small screen.
We chat with the cinematographer about how determining color and focus are essential to achieving narrative.
Focusing on empty spaces and positioning frames from outside a scene amplifies this terrifying tale of being watched.
Paul Thomas Anderson’s masterpiece is both romantic and rageful.