Filmic comparisons, connections, and appreciations. Curated by H. Perry Horton https://xitter.cf/t.co/ktYh8jApPt
Joined September 2016
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Just when you thought the hat was the dumbest thing about Jamiroquai...
Jay Kay, the lead singer of Jamiroquai, once gave one of the strangest celebrity breakup explanations ever.
He reportedly broke up with Winona Ryder because her breasts were too big and she wanted to have sex all the time.
“She has these enormous breasts, bigger than they look on film. She did have this habit of constantly wanting to play hide the sausage. It was exhausting.”
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No one - NO ONE - photographs water like Emmanuel Lubezki:
THE REVENANT, TO THE WONDER, THE NEW WORLD, CHILDREN OF MEN, TREE OF LIFE, KNIGHT OF CUPS.
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Same shot, different emotions. Weather and wanting in Zhang Yimou's RAISE THE RED LANTERN,
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Sci-fi Noir similarities in Jean Luc Godard's ALPHAVILLE and Ridley Scott's BLADE RUNNER.
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The arc of Caesar in RISE OF, DAWN OF, and WAR FOR THE PLANET OF THE APES is one of the greatest in film history.
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The gross anatomy of Luis Bunuel's UN CHIEN ANDALOU and David Lynch's BLUE VELVET.
Players as game pieces in READY OR NOT, directed by Matt Bettinelli-Olpin and Tyler Gillett, and shot by Brett Jutkiewicz.
A shot so nice they did it twice: ODD MAN OUT and THE THIRD MAN, both directed by Carol Reed and shot by Robert Krasker.
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Ambition, Damnation, and Salvation as captured by the cinematography of Robert Elswit in Paul Thomas Anderson's THERE WILL BE BLOOD.
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Stanley Kubrick's BARRY LYNDON, with cinematography by John Alcott, is a definite contender for Best Shot Film of All-Time.
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"I think the point of cinematography, of what we do, is intimacy." - Christopher Doyle (@dukefeng52)
