This is my third commentary on the classic thriller Strangers on a Train by Alfred Hitchcock.
My first post discussed the opening sequence, comparing the shooting script to the film, and Truffaut’s vision of Hitchcock as auteur. My second post discussed the Bruno character as a great bad guy, the director’s penchant for cinematic trains, and his seamless blend of locations and rear screens.
I now turn to the event that happens in every Hitchcock film: murder.
This post assumes that you’ve seen the movie, in other words: spoiler alert! Also, what follows may make more sense if you’ve read the previous posts.
Myriam (Laura Elliott) illuminated by the MacGuffin in Strangers on a Train (1951) by Alfred Hitchcock with cinematography by Robert Burks, ASC
Truffaut said that Hitchcock filmed lovemaking as if it was murder, and filmed murder as if it was lovemaking
Continue reading ‘‘Strangers on a Train’ 3 – Murder’
I recently returned from IBC, the best and biggest European trade show for cinema and television tools, held in the wonderful city of Amsterdam.
There were many interesting technical topics and products showcased there, and I will return to those in future posts.
As always, IBC was also the occasion to meet and speak with many people from the production and post-production industry, both in the technical conferences and on the show floor. And I thought it would be good to offer a post that, for once, highlights the people rather than the products.
It is in this spirit that I post a photo album featuring some of the portraits I’ve taken at IBC over the past five years. They include friends and colleagues, movers and shakers, industry captains and foot soldiers, cinematographers and post-producers, filmmakers and manufacturers, and some of the people who took time to explain movie technology to me.
The images are intentionally jumbled chronologically, to render a blended view of the recent past. Of course, there are many important people who I don’t have photos of — you know who you are. My apologies, I will try to make up for this shortcoming next year
Continue reading ‘IBC People: A Photo Album’
I wrote an article about Lucy that appears in the September issue of American Cinematographer, highlighting the beautiful lighting of cinematographer Thierry Arbogast, AFC. This post presents the second part of an expanded version of my interview with director/operator Luc Besson, going into more detail than we could in print.
If you haven’t read part 1 of my interview, I recommend going there first.
Luc Besson framing a shot on Lucy with Scarlett Johansson
Continue reading ‘Interview – Luc Besson 2′
I wrote an article about Lucy that appears in the September issue of American Cinematographer, highlighting the beautiful lighting of cinematographer Thierry Arbogast, AFC.
While preparing the article, I had the opportunity to have a lengthy and interesting conversation with director/operator Luc Besson.
This post presents the first part of an expanded version of my interview with him, going into more detail than we could in print.
Note: I shall continue my analysis of Strangers on a Train in October.
Director/operator Luc Besson on the set of Lucy with Scarlett Johansson
When I was young I was far from the actors, because I was afraid of them. Then with time I got closer to them. Now I’m only a meter away
Continue reading ‘Interview – Luc Besson 1′
This is my second commentary on the classic thriller Strangers on a Train by Alfred Hitchcock.
My first post discussed the opening sequence, comparing the shooting script to the film, and Truffaut’s vision of Hitchcock as auteur.
Strangers on a Train by Alfred Hitchcock (1951), with cinematography by Robert Burks
The stronger the bad guy, the better the film
Continue reading ‘‘Strangers on a Train’ 2 – Bad Guy, Trains, Rear Screens’
Greetings from the coast of Normandie!
Summer is a good time to view and review classic films. It is in this spirit that I begin a commentary on Alfred Hitchcock’s 1951 masterpiece, Strangers on a Train, filmed by his longtime cinematographer, Robert Burks, ASC.
Continue reading ‘‘Strangers on a Train’ 1 – Shoes, Script, Auteurs’
A few months ago, I posted an audio interview with the late, great Harris Savides, ASC, about his approach to contrast.
This post continues my informal conversation with Harris at the Camerimage Festival many years ago, but this time with a focus on his filmmaking process with director Gus van Sant on the Death Trilogy.
Last Days by Gus van Sant, cinematography by Harris Savides, ASC
Continue reading ‘Interview with Harris Savides – The Filmmaking Process’
Vilmos Zsigmond, ASC, HSC, received the Pierre Angenieux ExcelLens in Cinematography Award during the 2014 Cannes Film Festival.
I spoke to my friend Vilmos about the event, and about zooms and zooming.
Applauded by Pierre Andurand and Catherine Deneuve, Vilmos Zsigmond holds up the ExcelLens zoom lens prize at the Cannes Festival (photo Benjamin B)
Continue reading ‘Zsigmond Zooms’
This post continues my impressions of the 2014 Cannes International Film Festival.
The Cannes Film Festival offers a unique view of the current state of world cinema. In 2014 I was struck by the cinematic forms of the films offered.
Farewell to Language by Jean-Luc Godard
Continue reading ‘Cannes 2014 – Freeform Filmmaking’
This post gathers my impressions of a theme I took away from the 2014 Cannes International Film Festival.
I have been attending the Cannes Film Festival for many years, it offers a wonderful snapshot of world cinema, with a curious mixture of art and commerce.
Some years Cannes leaves me with the impression of a dominant theme, this year I saw the issue of women filmmakers emerge.
The Cannes women jurors: actresses Leila Hatami, Carole Bouquet & Do-yeon Jeon, directors Jane Campion & Sofia Coppola — Iranian, French, Korean, New Zealander, American.
Continue reading ‘Cannes 2014 – Women Filmmakers’