Josh Brolin in Oldboy. (Photos Hilary Bronwyn Gayle. OB Productions, Inc. © 2012. All rights reserved.
In choosing to recreate Oldboy for Western audiences, Spike Lee made a bold move. The original movie, based on a Japanese graphic novel, won the Grand Prix at the 2004 Cannes Film Festival and earned a passionate fan base. Lee completely reimagined the story, casting Josh Brolin as Joe Doucett, a man who is released after 20 years of solitary confinement with no explanation. Thirsty for vengeance, he discovers that he has only five days to uncover his tormenters. The cast also includes Elizabeth Olsen, Sharlto Copley and Samuel L. Jackson.
Oldboy was filmed in a variety of atmospheric locations in New Orleans, Louisiana. The mostly local camera crew was led by Sean Bobbitt, BSC. The Texas-born cinematographer has been on a roll, with The Place Beyond the Pines, 12 Years a Slave, Shame, and Hunger among his recent credits. The latter three of those movies were done with director Steve McQueen. All were shot on film.
Malcolm Ludgate, Director of Photography for Hidden Universe, filming a motion sequence in Chile’s Atacama Desert. Credit: Lisa Germany
Malcolm Ludgate, ACS has the resume of a modern day adventurer. His far-flung treks have literally taken him to the edges of the Earth. IMAX® fans have seen his work in epic nature projects like Antarctica, and Australia: Land Beyond Time. Shark lovers have likely viewed the predators through the DP’s eye in TV documentaries like The Fox and the Shark and Shark Tribe. This cameraman has also taken his lens into some of Australia’s most unusual and dangerous places.
Ludgate loves the challenges that come with shooting in some of the world’s most extreme places. So, it’s easy to see why he was chosen for Hidden Universe 3D.
Miles Teller and Shailene Woodley in scenes from The Spectacular Now (Jess Hall, BSC/ courtesy A24)
When he read the script for his latest project, The Spectacular Now, Jess Hall, BSC felt an instant connection with the material. “The story had a kind of resonance,” he says. “It reminded me of situations that I’ve been in throughout my real life. I thought it stood out. It’s quite rare that you read something that really touches you in that way.”
Hall’s background includes fine art still photography as well as eye-catching music videos and commercials, along with the feature films Hot Fuzz, Brideshead Revisited, Creation, The Switch, and 30 Minutes or Less. He studied film at Central Saint Martins University for the Arts and Design in London.
Scenes from Attila Marcel. (Photo credit: Laurent Bourlier)
When Sylvain Chomet, the wildly inventive director of the animated feature films The Illusionist and The Triplets of Belleville, set out to direct his first live-action feature, Attila Marcel, he chose to work with acclaimed cinematographer Antoine Roch, AFC. Roch, a veteran of more than 30 feature films, was introduced to Chomet by producer Claudie Ossard. Director and cinematographer were immediately simpatico. “I was drawn to Attila Marcel by Sylvain,” the DP relates. “He is so creative, and has such a feeling for odd, wonderful characters – the too big, the too small. He has a very strong ‘secret garden.’”
And then there was the script. “It was beautiful,” Roch adds. “It was all about the power of memory to transform. Right from the start I saw ways in which I could help Sylvain achieve the power of these memories in Paul’s (the main character’s) life.”
Director Seenu Ramasamy together with cinematographer Balasubramaniem boldly tell a story on film about a five decade-old problem hitherto untold by any filmmaker. Neerparavai narrates the lives and deaths at sea of Tamil fishermen. Interweaved into this narrative is a touching love story. The movie travels back to 1935, 1985 and into 2012. “Since the story of Neerparavai travels through various periods it was a challenging job to showcase each scene with originality and true colors,” says cinematographer Balasubramaniem.
The movie was shot during the peak southern summer (March-May) mainly in the waters of Kanyakumari, South India. Using two ARRI cameras (a 435 and a 235) and a complement of lenses including Optima and Allura zooms, Ultra Primes and a Cooke S4, the cinematographer captured the drama on a mixture of KODAK VISION3 film stocks.