Christopher Nolan’s “The Odyssey”: An Attempt to Break New Cinematic Ground
Christopher Nolan is no stranger to grand ambitions. He has been an advocate and early adopter of using IMAX cameras in his films, dating back to The Dark Knight (2008), his superhero masterclass, which utilized the large-format cameras for the gangbusters opening bank robbery scene. He’s been deploying the cameras ever since, even helping IMAX push their own technology further, creating newer, lighter-weight equipment.
For his latest epic,
“A House of Dynamite”: How Production Designer Jeremy Hindle Built a Nuclear Crisis in Real Time – Part 2
Filmed primarily in New Jersey with the help of $30 million in production incentives, Oscar-winner Kathryn Bigelow’s A House of Dynamite is a sobering look at how the response to a nuclear attack on U.S. soil might unfold. It’s not an easy watch, but it’s relentlessly compelling and superbly crafted, hallmarks of Bigelow’s distinguished career.
The cortisol-triggering film follows major players in the government during the 20 minutes before an inbound nuclear missile hits a major American city.
How “The Beast in Me” Cinematographer Lyle Vincent Brought ’70s Noir to Netflix’s Claire Danes Thriller
The Beast in Me opens on a tableau of sorrow. Claire Danes, who plays author Aggie Wiggs, is driving her son Cooper (Leonard Gerome) when the unthinkable happens: a car accident takes his life. In the aftermath, her partner Shelly (Natalie Morales) rushes towards her, calling out for him. Drowning in pain, Aggie’s bloodied face can only twist a piercing scream underscored by a cacophonous mix of music and effects. The bleak moment abruptly cuts to a close-up of her against a warm,
Bringing Guillermo del Toro’s Creature Into the Light With “Frankenstein” Cinematographer Dan Laustsen
Dan Laustsen likes to make even the most fantastical frame pop with an authentic, organic humanity. The cinematographer extraordinaire and filmmaker Guillermo del Toro wants tangibility, regardless of whether his stories are as slippery and bittersweet as The Shape of Water or as beguiling and deceptive as Nightmare Alley. In the case of Frankenstein, organic is a more-than-fitting approach for the story of men and the monsters within,
Inside “A House of Dynamite”: Production Designer Jeremy Hindle on Building Kathryn Bigelow’s Nuclear Thriller
An unrelenting, blistering thriller that grips you from the first frame and never lets go, Oscar-winning Kathryn Bigelow’s latest film , A House of Dynamite, is the final installment in a trilogy that began with 2008’s The Hurt Locker and continued with 2012’s Zero Dark Thirty. Continuing her trademark journalist approach to filmmaking and fascination with the military industrial complex, A House of Dynamite follows high-ranking officials in the U.S.
