According to director of photography Janusz Kaminski, Steven Spielberg’s earliest home movies still exist, and were consulted for the scene in “The Fabelmans” in which young Sammy Fabelman recreates a train crash scene from Cecil B. DeMille’s 1952 film “The Greatest Show on Earth.”
“We’ve watched them before, but they are a little too primitive for our purposes,” says Kaminski, veteran of 19 films with the director. “They’re clever, but it was harder back then for a kid. We needed something a bit more slick that would work within our overall film.”
Kaminski shot the majority of the film on 35mm film emulsion, as he usually does with Spielberg. Extensive testing revealed that actual 8mm wasn’t practical in part because striking a print was inconvenient. Kaminski shot the boy’s first attempt, done before he acquires a camera, in 35 mm format, with the sequence ending on a...
“We’ve watched them before, but they are a little too primitive for our purposes,” says Kaminski, veteran of 19 films with the director. “They’re clever, but it was harder back then for a kid. We needed something a bit more slick that would work within our overall film.”
Kaminski shot the majority of the film on 35mm film emulsion, as he usually does with Spielberg. Extensive testing revealed that actual 8mm wasn’t practical in part because striking a print was inconvenient. Kaminski shot the boy’s first attempt, done before he acquires a camera, in 35 mm format, with the sequence ending on a...
- 2/28/2023
- by David Heuring
- Variety Film + TV
Tania Lambert shoots a Toyota Tvc.
If speaks to cinematographers Anna Howard, Tania Lambert, Katie Milwright, Mandy Walker, Bonnie Elliott, Emma Paine, Velinda Wardell, Sky Davies and Ashley Barron about rising up the ranks, the gender gap and the DPs that inspire them.
No woman has ever won the Oscar for best cinematography. In fact, no woman has ever been nominated. In Australia, Abs statistics to 2011 put the percentage of female directors of photography at around 6 percent. Were you aware of the gender divide at the beginning of your career?
Lambert: I was keenly aware of the gender imbalance in the camera department when I first started as a camera assistant. It didn.t bother me a huge deal, but I felt I had to work extra hard to be respected in that role. There were only a few female camera assistants I knew of and one female Dop, Anna Howard,...
If speaks to cinematographers Anna Howard, Tania Lambert, Katie Milwright, Mandy Walker, Bonnie Elliott, Emma Paine, Velinda Wardell, Sky Davies and Ashley Barron about rising up the ranks, the gender gap and the DPs that inspire them.
No woman has ever won the Oscar for best cinematography. In fact, no woman has ever been nominated. In Australia, Abs statistics to 2011 put the percentage of female directors of photography at around 6 percent. Were you aware of the gender divide at the beginning of your career?
Lambert: I was keenly aware of the gender imbalance in the camera department when I first started as a camera assistant. It didn.t bother me a huge deal, but I felt I had to work extra hard to be respected in that role. There were only a few female camera assistants I knew of and one female Dop, Anna Howard,...
- 9/15/2016
- by Harry Windsor
- IF.com.au
By now, horror fans are used to Blumhouse Productions’ surprise “dumping” strategy, where a handful never-before-seen titles hit Netflix/VOD without warning. This explains why you might not have known about Henry Joost and Ariel Schulman’s second feature this year, Viral, until – well – now. Movies like Mockingbird, Mercy, and The Veil don’t make you question why Blum chose to unceremoniously push them out, but Viral does. There’s more to Christopher Landon and Barbara Marshall’s screenplay than squirmy invaders and teenage chills, that I urge you to discover from the comfort of your sofa and surround sound setup.
VOD is no longer a kiss of death, people – and that’s not the worm flu talking.
In this quarantined nightmare, Sofia Black-d’Elia and Analeigh Tipton play two sisters who find themselves under government-sanctioned house arrest, sans supervision. Emma (Black-d’Elia) and Stacey (Tipton) are without their parents,...
VOD is no longer a kiss of death, people – and that’s not the worm flu talking.
In this quarantined nightmare, Sofia Black-d’Elia and Analeigh Tipton play two sisters who find themselves under government-sanctioned house arrest, sans supervision. Emma (Black-d’Elia) and Stacey (Tipton) are without their parents,...
- 8/8/2016
- by Matt Donato
- We Got This Covered
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