Photo: Electric City Entertainment
When Anna Boden and Ryan Fleck – the pair that made waves with their first feature Half Nelson in 2006 – approached cinematographer Andrij Parekh with the script for Mississippi Grind, he was instantly drawn to the material. And as it was to be their fourth collaboration, the trio were on the same page when it came to the look.
“They showed me a lot of 1970s films,” says Parekh, an NYU Tisch graduate. “From that, the inspiration for Mississippi Grind was clear. They were attracted to Robert Altman films like California Split, John Schlesinger’s Midnight Cowboy, and Wim Wenders’ Paris, Texas. All films I love. That’s the style and feeling we tried to give to this film – long, slow zooms mixed with handheld.”
Kenneth Branagh, Haris Zambarloukos, BSC and Lily James on the set of Disney’s live-action feature inspired by the classic fairy tale, Cinderella. (Photos by Jonathan Olley, ©Disney Enterprises, Inc. All Rights Reserved.)
Together, Haris Zambarloukos, BSC and Kenneth Branagh have made the otherworldly Marvel pic Thor, the stylish Michael Caine vehicle Sleuth, and the spy thriller Jack Ryan: Shadow Recruit. Each of those projects also was made on 35mm film. Their latest collaboration, a live-action update of Disney’s Cinderella, adds yet another completely different project to their body of work.
When he got the call, Zambarloukos was initially hesitant. “When I read the script, I began to realize what a great opportunity it was,” he says. “It’s an ancient, timeless story with versions in many cultures. Within Disney’s version of the tale is a tragic orphan story that is almost Dickensian. And after our first meeting, I realized why Ken wanted to do it – it’s a chance to make a classic, the first of its kind, in a new way. It’s a big responsibility.”
Scene from Oklahoma! Photo courtesy of Twentieth Century Fox Home Entertainment
Color grading has been Mark Griffith’s mandate for almost 30 years. He began as a colorist, specializing in award-winning commercials and visual effects at Optimus in Chicago then at Command Post & Transfer in Toronto. At the time, secondaries were still fairly new, there were no windows and no way to store a list. Even tape-to-tape color passes were a matter of trial and error. As the industry evolved, so did Griffith. He moved to Los Angeles in 1991 and expanded on his commercial experience, adding trailers and feature film projects to his growing credit list.
For 10 years now, Griffith has been a member of the FotoKem team. Since 2010, he has worked on a number of important restoration projects, including three major 4K film restorations: The Sound of Music for its 45th anniversary, Oklahoma! and My Fair Lady, on the occasion of their 60th and 50th anniversaries, respectively, last year.
Maksim Emelyanov plays Koila in The Search (photo @Wild Bunch)
Guillaume Schiffman’s pitch-perfect black-and-white cinematography on The Artist brought him BAFTA, BSC and IFP Spirit Awards, as well as OSCAR® and ASC Award nominations in 2012. The Artist, which Schiffman called “a souvenir of the films of the 1920s,” brought home five OSCARS®, including Best Picture and Best Director for Michel Hazanavicius.
But when Schiffman and Hazanavicius reteamed for The Search, they knew a completely different approach was in order.
With the 87th Oscars® around the corner and the culmination of the awards season at hand, we wanted to take a moment to shine a spotlight on the movies that chose KODAK Film to create the visuals that have captured audiences and critics worldwide.
Kodak is honored to have an extensive history with the Academy of Motion Picture Arts & Sciences. Since their first ceremony was held in 1929, an overwhelming majority of Oscar®-winning movies have been created on Kodak film. We are also proud of the fact that all of the Best Picture winners at the Film Independent Spirit Awards have been shot on film.