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Has anyone given any thoughts to any cinematographers they’d like to see have a shot at James Bond? I’d quite like to see Dariusz Wolski or Adam Arkapaw get the chance, they’re both incredible artists
Ok, I'm tired of this too.
Why are you even quoting my post? What I said in that had nothing to do with your reply. At no point did Robert Downey Jr or Chris Evans had to make Iron Man and Captain America centric films annually. The closest that happens is with crossover films like the Avengers which are ensembles where they don’t have to solely carry the films, which is very different from Connery making five Bond films within five years as THE star.
Nothing in the post you quoted says anything about never going back to 2 to 3 year gaps. I was talking about making films annually. Why are you making posts in bad faith?
This guy belongs on one of those other threads where 24-7 they piss and moan about how BB hates Bond and, EoN is a crappy producer of the Bond films and blah blah blah. They’re obsessed and they only derive pleasure by spreading their negativity. It’s an absolute joke and a sad existence because, in the end, all they’re doing is speaking out of their rear.
Charlotte Bruus Christensen for me. Great cinematographer (her credits include Girl on the Train, Far From the Madding Crowd, A Quiet Place, and most recently Murderer at the End of the World). I’ve heard her speak at a cinematography festival before. She has a great sense of story and mood. She was actually much more interesting than hearing some of the more established/older DoP’s speak.
She’s great. I can imagine her doing something really interesting with a Bond film. She’s brought a lot to thrillers she’s worked on in particular, so I think that’s a good sign.
Maybe James Friend? He did All Quiet on The Western Front and a bunch of higher end tv (including the new Star Wars show). Definitely on the earlier side of his career but one to keep an eye out for.
He worked in Beetlejuice Beetlejuice too.
I'll always remember him for his work on Locke. A simple film in many ways but still beautiful in my opinion.
James is so interesting because his work on film and TV is so different. The fact he does All Quiet as well as Willow and The Acolyte.
I feel Doyle needs a good splash of chaos/improvisation on a lot of films he works on. It’s why he works so well with Wong Kar-wai, who often shoots without a script. It’s probably not always ideal for a Bond film though! I’ve run into him/heard him speak too. Fascinating man (very heavy drinker though, yes, but it’s probably a part of what makes him interesting/has led him to live the life he has) and absolutely a great cinematographer.
Fraser’s great, but I think he’ll be busy with Batman.
So you’re just gonna ignore my reply huh @DEKE_RIVERS?
I’m not sure he does feature films anymore. I remember hearing he wanted to spend more time with his family/wanted to direct so was concentrating on adverts and tv rather than films. He’s a great DoP though.
The cinematographer and the director (perhaps even producers) work together early on to come up with the visual strategy and go through pre-production - ie. what kind of look/feel they want from the cinematography, shot lists, test shots etc. Ultimately on set though it’s the DoP who heads up the camera and lighting team and gets the shots needed.
Basically it’s the head of a specific department. Ultimately the look of the film - the lighting, shots, camera movement etc - is on them and what they’re credited for. The nature of a director is they oversee the work as a whole and work with the heads of all those departments in one form or another (for example, a lot of directors sit with their editors throughout the editing process, and even those who are more hands off at this stage will watch their work after and give notes/suggestions). The set designer similarly liaises with the director, producers, location managers and even DoP at times to design the sets.
Not that I’ve ever been to film school mind, haha. But that’s my experience.
Yeah good point. Basically it’s a very collaborative medium, and it’s why a director has to know a bit about a lot of different things in filmmaking.
Tell me more about Connery's problematic views on women, O enlightened one. Let's see if the ladies preferred Connery or the kind of man you like more. Should we listen to pantsuit gestapo Barbara Walters or the ladies who actually know Connery?
Like Connery’s first wife??
This was the greatest line of the day. Perfect. Out of left field. And imprinted an immediate image.
Thank you @DewiWynBond . That was priceless!
Short version (and not cast iron because there’s different approaches) is the director shows you *what* you’re looking at, and the cinematographer makes it look *how* it looks.
Here you go.
Let's keep it civil, gents. Thank you.