10/30/2014

    Strangers on a Train 4 – darkness, leitmotifs, symphony

    Strangers on a Train - behind bars -thefilmbook-

    This is my fourth and final 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

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    10/16/2014

    ‘Strangers on a Train’ 3 – Murder

    Strangers on a Train - 26-35-Myriam lit by lighter -thefilmbook-

    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,

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    10/2/2014

    IBC People: A Photo Album

    IBC 3D screening -thefilmbook

    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

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    Interview – Luc Besson 2

    Luc Besson framing Scarlett Johansson for Lucy

    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

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    Interview – Luc Besson 1

    Luc Besson operating on Lucy

    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

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