Director Alex Garland and cinematographer Rob Hardy have worked together to make worlds that all feel like they could beat you up, whether they’re vast and weird (“Annihilation“), contained and sharp (“Ex Machina“), or geometric and severe (“Devs”). The pair’s collaborations have a consideration of space and power with an almost magnetic pull. The firepower of their latest film, “Civil War,” is quite literal. The camera’s job is to watch the journalist characters embedded in a military assault on Washington, D.C., witness the Lincoln Monument get blown up.
In this, “Civil War” joins a robust tradition of war films stretching back as far as 1925’s “The Big Parade” and 1926’s “What Price Glory?” that try to convey the power of violence itself: its horror, its allure, its twisted humor, and most of all its undeniable pull towards more violence. Hardy told IndieWire that he was much...
In this, “Civil War” joins a robust tradition of war films stretching back as far as 1925’s “The Big Parade” and 1926’s “What Price Glory?” that try to convey the power of violence itself: its horror, its allure, its twisted humor, and most of all its undeniable pull towards more violence. Hardy told IndieWire that he was much...
- 4/16/2024
- by Sarah Shachat
- Indiewire
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Reteaming with Baz Luhrmann to make his audacious musical biopic Elvis, cinematographer Mandy Walker began with meticulous planning and testing to bring the iconic singer’s most memorable performances to the big screen.
The Warner Bros. picture is currently one of the top 10 highest-grossing movies of the year, with 286 million worldwide. And more recently, Walker’s work on the movie was selected for the main competition of the Camerimage international cinematography festival — a prestigious bellwether for the cinematography Oscar race — whose 30th edition begins Nov. 12 in Torun, Poland.
Luhrmann and Walker (who previously lensed the director’s 2008 epic Australia and the Chanel No. 5 campaigns that featured Nicole Kidman and Gisele Bündchen) did meticulous research and testing before production began. This involved collecting and studying historical references, from footage of Elvis’ live Las Vegas performances to his 1968 “comeback special” that aired on NBC. Luhrmann...
Reteaming with Baz Luhrmann to make his audacious musical biopic Elvis, cinematographer Mandy Walker began with meticulous planning and testing to bring the iconic singer’s most memorable performances to the big screen.
The Warner Bros. picture is currently one of the top 10 highest-grossing movies of the year, with 286 million worldwide. And more recently, Walker’s work on the movie was selected for the main competition of the Camerimage international cinematography festival — a prestigious bellwether for the cinematography Oscar race — whose 30th edition begins Nov. 12 in Torun, Poland.
Luhrmann and Walker (who previously lensed the director’s 2008 epic Australia and the Chanel No. 5 campaigns that featured Nicole Kidman and Gisele Bündchen) did meticulous research and testing before production began. This involved collecting and studying historical references, from footage of Elvis’ live Las Vegas performances to his 1968 “comeback special” that aired on NBC. Luhrmann...
- 11/11/2022
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
During his lifetime, Elvis Presley dominated popular culture. Baz Luhrmann’s new biopic “Elvis” — starring Austin Butler as Presley and Tom Hanks as his manager Colonel Tom Parker — focuses on key incidents to illuminate the performer’s influence: Sun Records, the Army, his marriage, a string of movie musicals, the 1968 “Comeback Special,” and his Las Vegas residency all come back to life with the help of cinematographer Mandy Walker.
This is Walker’s fourth collaboration with Luhrmann, after Australia and two Chanel shorts; a native of Melbourne, she was made a Member of the Order of Australia in 2021. Walker was the Dp on the 2020 version of “Mulan,” and is currently shooting another animation-to-live-action adapation for Disney: “Snow White.” Walker spoke with IndieWire about “dress rehearsals” for The King, flying cameras, and whether or not she can say anything about “Snow White” yet.
IndieWire: Let’s start with how you work with Luhrmann.
This is Walker’s fourth collaboration with Luhrmann, after Australia and two Chanel shorts; a native of Melbourne, she was made a Member of the Order of Australia in 2021. Walker was the Dp on the 2020 version of “Mulan,” and is currently shooting another animation-to-live-action adapation for Disney: “Snow White.” Walker spoke with IndieWire about “dress rehearsals” for The King, flying cameras, and whether or not she can say anything about “Snow White” yet.
IndieWire: Let’s start with how you work with Luhrmann.
- 6/30/2022
- by Daniel Eagan
- Indiewire
The winner of Karlovy Vary’s East of the West prize for her debut, “The Wednesday Child” (2015), Hungarian multihyphenate Lili Horvát screens “Preparations to Be Together for an Unknown Period of Time” at the Toronto Intl. Film Festival after its world premiere in Venice Days. Her unusual love story explores the role of projections in love and the fine line between romance and madness.
Your first film boasted a gritty, neo-realistic look and this one feels mysterious and dreamy. How did you decide on the visual style and why did you decide to shoot on 35mm?
The key element of “Preparations” is insecurity, the fragility and precariousness of reality. While researching that, Róbert Maly, the Dp, and I came upon the work of Saul Leiter, an American photographer, at an exhibition in Vienna. The mysteriousness hidden in his photos, in their texture, color, lighting and framing, became our first point of reference.
Your first film boasted a gritty, neo-realistic look and this one feels mysterious and dreamy. How did you decide on the visual style and why did you decide to shoot on 35mm?
The key element of “Preparations” is insecurity, the fragility and precariousness of reality. While researching that, Róbert Maly, the Dp, and I came upon the work of Saul Leiter, an American photographer, at an exhibition in Vienna. The mysteriousness hidden in his photos, in their texture, color, lighting and framing, became our first point of reference.
- 9/10/2020
- by Alissa Simon
- Variety Film + TV
Walk into an event at the yearly gathering of cinematographers at Poland’s Camerimage Film Festival and you are likely to find Ed Lachman, the unassuming Dp with his trademark hat, tucked away in a back corner holding court as a collection of his celebrated colleagues hang on his every word. They aren’t simply there to hear how Lachman created the look of a chemically-tainted light on his most recent film, “Dark Waters” — or one of the dozens of his peers’ “how the hell did Ed do that?” queries — but also how a master like Robby Müller sculpted low light, or Sven Nykvist studied natural light, or Vittorio Storaro manufactured his chiaroscuro light. Lachman serving as a common thread to these three diverse pillars of the craft, each of whom he considers a close mentor, having studied under and worked for them as he learned the craft himself.
Lachman’s knowledge,...
Lachman’s knowledge,...
- 12/3/2019
- by Chris O'Falt
- Indiewire
The Ledge producer Michael Mailer has teamed with Hank Blumenthal to produce an inspired-by-true-events period drama, The Walk, with Daniel Adams attached to direct from a script he co-wrote with George Powell. The screenplay was originated by Powell, a former drug dealer whom Adams discovered while he was incarcerated. Upon his release, Powell turned to screenwriting and The Walk will mark his first produced script.
The story centers on Boston Irish cop Bill Coughlin as he is faced with his own suppressed racist attitude and fierce social pressure after being assigned to protect black high school students as they are bused into all-white South Boston High during the court-ordered forced integration of the Boston School System in 1974, which resulted in brutal violence and city-wide protests.
Mailer, Blumenthal and Adams are longtime collaborators having worked together on various films throughout the past 30 years starting with the Sandra Bullock starre,...
The story centers on Boston Irish cop Bill Coughlin as he is faced with his own suppressed racist attitude and fierce social pressure after being assigned to protect black high school students as they are bused into all-white South Boston High during the court-ordered forced integration of the Boston School System in 1974, which resulted in brutal violence and city-wide protests.
Mailer, Blumenthal and Adams are longtime collaborators having worked together on various films throughout the past 30 years starting with the Sandra Bullock starre,...
- 11/13/2019
- by Amanda N'Duka
- Deadline Film + TV
After winning her first Emmy a decade ago for HBO miniseries John Adams, costume designer Donna Zakowska is once again reaping the benefits of intricate period work, with Amazon comedy The Marvelous Mrs. Maisel.
For Amy Sherman-Palladino’s acclaimed series, following an extraordinary housewife turned comedienne, Zakowska sought to capture the sartorial spirit of 1958 New York City. While tracking the fashion of a dynamic, vibrant time in the history of the East Coast cultural hub—designing her principal characters’ clothing from scratch—the costume designer confronted a protagonist in constant motion and visual evolution.
Requiring further thought was the show’s tone and the sometimes-heightened space it occupied, teetering on the edge of “magical reality.” Costuming “a massive amount of people” for Mrs. Maisel, with attention paid to every little detail, Zakowska would find her footing with the series by following her typical artistic inclinations—thinking deeply about color.
What made The Marvelous Mrs.
For Amy Sherman-Palladino’s acclaimed series, following an extraordinary housewife turned comedienne, Zakowska sought to capture the sartorial spirit of 1958 New York City. While tracking the fashion of a dynamic, vibrant time in the history of the East Coast cultural hub—designing her principal characters’ clothing from scratch—the costume designer confronted a protagonist in constant motion and visual evolution.
Requiring further thought was the show’s tone and the sometimes-heightened space it occupied, teetering on the edge of “magical reality.” Costuming “a massive amount of people” for Mrs. Maisel, with attention paid to every little detail, Zakowska would find her footing with the series by following her typical artistic inclinations—thinking deeply about color.
What made The Marvelous Mrs.
- 8/14/2018
- by Matt Grobar
- Deadline Film + TV
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