Spotlight on Cinematography: Shades of Blue (round two)

the life aquatic with steve zissou
The Life Aquatic with Steve Zissou (2004) || Robert Yeoman (DP)
beetlejuice
Beetlejuice (1988) || Thomas Ackerman (DP)
charlie and the chocolate factory
Charlie and the Chocolate Factory (2005) || Philippe Rousselot (DP)
fear and loathing in las vegas
Fear and Loathing in Las Vegas (1998) || Nicola Pecorini (DP)
la la land
La La Land (2016) || Linus Sandgren (DP)
iron man 1
Iron Man (2008) || Matthew Libatique (DP)
the royal tenenbaums
The Royal Tenenbaums (2001) || Robert Yeoman (DP)

Spotlight on Cinematography: Sparks Fly

Now that my first round of color-centric cinematography posts is wrapped up, I wanted to pause and explore a couple of other themes. These seven frames all feature fireworks and sparks as a focal point. It’s exciting to see how such a variety of movies uses a similar item in a variety of ways for a variety of reasons.

Disclaimer: Thus far, I have only posted frames from films I’ve watched and that is a habit I have every intention of sticking to. However, the below frame from The Theory of Everything popped up on my dash and was such a perfect addition that I had to include it. This will be the very rare exception of including a frame that wasn’t hand-picked after a viewing.

the man who cried
The Man Who Cried (2000) || Sacha Vierny
theory of everything
The Theory of Everything (2014) || Benoit Delhomme (DP)
wonder woman 2
Wonder Woman (2017) || Matthew Jensen
gatsby
The Great Gatsby (2013) || Simon Duggan (DP)
order of the phoeniz
Harry Potter and the Order of the Phoenix (2007) || Slawomir Idziak (DP)
The Lord of the Rings: The Fellowship of the Ring (2001)(Screengrab)
The Lord of the Rings: The Fellowship of the Ring (2001) || Andrew Lesnie (DP)
v for vendatta
V for Vendetta (2005) || Adrian Biddle (DP)

Spotlight on Cinematography: Sand vs Sky

The use of expansive spaces on screen most often serves one of two purposes: to draw the eye towards something or someone, or to highlight the enormity (and sometimes hopelessness) of a specific situation. Expansive spaces can be used to highlight the hopelessness of a single person stumbling across an icy wasteland, or to emphasize a focal point of importance or beauty. Below, you can see some of my favorite frames that use skies and sand for one (or maybe even both) of the above purposes.

lawrence of arabia 2
Lawrence of Arabia (1962) || Freddie Young (DP)
hero
Hero (2002) || Christopher Doyle (DP)
arrival
Arrival (2016) || Bradford Young (DP)
skyfall
Skyfall (2012) || Roger Deakins (DP)

 

mad max
Mad Max: Fury Road (2015) || John Seale (DP)
prince of egypt
Prince of Egypt (1998)  || Brenda Chapman (Director)
The-Fall-0067
The Fall (2006) || Colin Watkinson (DP)
where the wild things are
Where the Wild Things Are (2009) || Lance Acord (DP)