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Arts > Films > Cinematographers
Gordon Willis, Cinematography Master Video The New York Times 20 May 2014
Gordon Willis, the cinematographer behind several seminal films of the 1970s including "The Godfather" and "Manhattan," died on Sunday.
Produced by: Robin Lindsay and Gabe Johnson Watch more videos at: http://nytimes.com/video
YouTube http://www.youtube.com/watch?v=aW64DCGYp3U
Rachel Morrison USA
https://www.npr.org/2018/02/28/
Bradford Young USA
http://www.npr.org/2015/03/01/
Chris Menges UK
https://www.theguardian.com/film/2011/sep/08/
Robby Müller DUT 1940-2018
Robby Müller in 1989.
Photograph: Alamy Stock Photo
Cinematographer who helped shape the visions of film-makers including Wim Wenders and Jim Jarmusch G Thu 5 Jul 2018 15.50 BST Last modified on Sun 22 Jul 2018 18.00 BST
https://www.theguardian.com/film/2018/jul/05/
Müller rose to venerated status in the film industry with sublime work for Wim Wenders, Jim Jarmusch and Lars von Trier
https://www.theguardian.com/film/2018/jul/04/
https://www.theguardian.com/artanddesign/2019/jun/22/
https://www.nytimes.com/2018/07/10/
https://www.theguardian.com/film/2018/jul/05/
https://www.theguardian.com/film/2018/jul/04/
https://www.nytimes.com/1996/05/10/
Walter Lassally GER / UK / GR 1926-2017
Oscar-winning cinematographer whose eye and innovative techniques contributed to the success of films by Tony Richardson, the Merchant Ivory group and many others
https://www.nytimes.com/2017/10/27/
https://www.nytimes.com/2017/10/27/
https://www.theguardian.com/film/2017/oct/24/
Douglas Slocombe UK 1913-2016
British cinematographer who filmed the Nazi invasion of Poland, the adventures of “Indiana Jones” and the madcap farce of Ealing Studios comedies
(...)
One of Britain’s most acclaimed cinematographers, Mr. Slocombe shot some 80 films, working with directors as varied as George Cukor, John Huston, Norman Jewison and Roman Polanski.
His career began with the famed Ealing black comedies of the late 1940s and early ’50s, and ended with three “Indiana Jones” films for Steven Spielberg.
https://www.nytimes.com/2016/02/24/
https://www.nytimes.com/2016/02/24/
Vilmos Zsigmond HUN / USA 1930-2016
Vilmos Zsigmond, far right, filming “The Deer Hunter."
Universal Pictures, via Photofest
Vilmos Zsigmond, Cinematographer Who Gave Hollywood Films a New Look, Dies at 85 NYT JAN. 4, 2016
http://www.nytimes.com/2016/01/05/
Hungarian-born cinematographer who helped shape the look of American movies in the 1970s, ’80s and beyond, among other things lending a hyper-real glow to the arrival of space aliens and winning an Oscar for Steven Spielberg’s 1977 science fiction extravaganza “Close Encounters of the Third Kind”
(...)
Known for creating dramatic, story-propelling images in muted colors and natural light, Mr. Zsigmond (...) referred to his desired imagery as “poetic realism.”
Along with other cinematographers, including his countryman Laszlo Kovacs, with whom he escaped the Soviet dominance of Hungary in 1956, he helped usher in a new era in the look of Hollywood movies, one in which light and color and whole images superseded the importance of making the star look gorgeous.
http://www.nytimes.com/2016/01/05/
https://www.theguardian.com/film/gallery/2019/dec/04/
http://www.nytimes.com/2016/01/05/
Haskell Wexler USA 1922-2015
one of the most inventive cinematographers in Hollywood and an outspoken political firebrand
(...)
With two Academy Awards and a star on the Hollywood Walk of Fame, Mr. Wexler was a prominent member of the artistic elite.
But he was also a lifelong advocate of progressive causes whose landmark “Medium Cool” — a fiction film shot during the 1968 Democratic National Convention in Chicago — demolished boundaries between documentary and fiction, reflecting his refusal to recognize limitations in either art or politics.
Mr. Wexler received the last Oscar that would be given for black-and-white cinematography, for “Who’s Afraid of Virginia Woolf?” (1966).
He won again a decade later for “Bound for Glory” (1976), a biography of the folk singer Woody Guthrie (whom Mr. Wexler had met during World War II, when both served in the merchant marine).
He had five Oscar nominations in all, over a career that began more than auspiciously: His first genuine credit was on an Oscar-nominated 1953 documentary short, “The Living City.”
http://www.nytimes.com/2015/12/28/
Andrew Lesnie AUS 1956-2015
Oscar-winning cinematographer who filmed Peter Jackson’s “Lord of the Rings” trilogy and three “Hobbit” movies http://www.nytimes.com/2015/04/29/movies/andrew-lesnie-cinematographer-dies-at-59.html
http://www.nytimes.com/2015/04/29/
Miroslav Ondricek CZE / USA 1934-2015
cameraman whose intimate, realist style propelled him from Communist Czechoslovakia to a successful career in Hollywood, where he was nominated for two Academy Awards for cinematography
http://www.nytimes.com/2015/04/03/
http://www.nytimes.com/2015/04/03/
Gordon Hugh Willis USA 1931-2014
master cinematographer whose work on “The Godfather,” “Manhattan,” “Annie Hall,” “Klute,” “All the President’s Men” and other seminal movies of the 1970s made his name synonymous with that pathbreaking decade in American moviemaking
http://www.nytimes.com/2014/05/20/
http://www.nytimes.com/2014/05/20/
Oswald Norman Morris UK 1915-2014
British cinematographer who helped redefine the color in Technicolor with filters, fog machines and makeshift devices like the brown silk stocking he stretched over a lens for the life-in-amber look of “Fiddler on the Roof” http://www.nytimes.com/2014/03/27/arts/oswald-morris-artful-cinematographer-is-dead-at-98.html
http://www.nytimes.com/2014/03/27/
Bruce Surtees USA 1937-2012
Oscar-nominated cinematographer known as the Prince of Darkness for his skill at summoning sharply etched figures from the inky depths of prisons, nightclubs and other inhospitably lighted places
(...)
Cinematography was part of Mr. Surtees’s genetic endowment.
His father, was a cinematographer who won Oscars for “King Solomon’s Mines” (1950), “The Bad and the Beautiful” (1952) and “Ben-Hur” (1959).
The younger Mr. Surtees, born in Los Angeles on Aug. 3, 1937, was named Bruce Mohr Powell Surtees in honor of his father’s mentor Hal Mohr, also an esteemed cinematographer. http://www.nytimes.com/2012/02/29/arts/bruce-surtees-oscar-nominated-cinematographer-dies-at-74.html
http://www.nytimes.com/2012/02/29/
Jack Cardiff UK 1914-2009
film director and cinematographer
As a cinematographer, Jack Cardiff, (...) was known as "the man who makes women look beautiful".
Some of the glamorous women whose beauty he accentuated through his lens were Ava Gardner (Pandora and the Flying Dutchman, The Barefoot Contessa), Audrey Hepburn and Anita Ekberg (War and Peace) and Marilyn Monroe (The Prince and the Showgirl).
In fact, when Monroe was in London to shoot The Prince and the Showgirl with Laurence Olivier in 1956, she said of Cardiff: "He's the best cameraman in the world, and I've got him."
Cardiff was certainly one of the best colour cinematographers in the world, whose career in that capacity began with the emergence of Technicolor and continued through the golden (or rainbow) age of that process.
As camera operator on Wings of the Morning (1937), Britain's first three-strip Technicolor film, he became a colour expert and photographed many travelogue shorts as well as being second unit cameraman on The Four Feathers (1939).
However, his greatest achievement was as the cinematographer on three of Michael Powell and Emeric Pressburger's best films, A Matter of Life and Death (1946), Black Narcissus (1947), which won him an Oscar, and The Red Shoes (1948).
Cardiff's dramatic use of colour played an essential part in the success of these films, if only for the splashes of red - the red rose in the first, the nun Deborah Kerr's hair seen in flashback in the second, and Moira Shearer's hair and shoes in the third.
Cardiff's view was that a cameraman is "the man who paints the movie". http://www.theguardian.com/film/2009/apr/23/jack-cardiff-obituary
http://www.guardian.co.uk/film/filmblog/2011/sep/23/
https://www.theguardian.com/film/2009/apr/22/
http://www.theguardian.com/film/filmblog/2009/apr/22/
http://www.guardian.co.uk/film/2009/apr/23/
Henri Alekan FR 1909-2001
In the late 1930s, as camera operator to Eugen Shüfftan, he worked on two Marcel Carné films, Quai des Brumes and Drle de Drame.
Shüfftan, the cameraman on Fritz Lang's Metropolis, became Alekan's mentor.
"I profited greatly from the magnificent lessons in lighting created by an artist.
He would say, 'Look here, I'm not doing naturalist lighting. I'm doing lighting as I feel it. Emotional lighting.'"
Alekan's views were similar.
"We should break the banality of naturalism. We get naturalism in our everyday lives. Artists are made to invent something else."
Alekan's career was interrupted by the German occupation of France during the second world war.
After escaping from a prisoner-of-war camp in 1940, he and his brother formed a resistance group called July 14, based in southern France.
The group helped people on the run from the Germans by providing shelter and false papers.
Alekan also secretly filmed German beach fortifications.
https://www.theguardian.com/news/2001/jun/19/
Gábor Pogány HUN / ITA 1915-1999
Born in Budapest and educated in Britain, Pogány emigrated to Italy and spent much of his career in the country.
He worked on over a hundred films during his career, mainly Italian films as well as some international productions. https://en.wikipedia.org/wiki/G%C3%A1bor_Pog%C3%A1ny
https://en.wikipedia.org/wiki/G%C3%A1bor_Pog%C3%A1ny
Stanley Cortez USA 1908-1997
He worked on over seventy films, including Orson Welles' The Magnificent Ambersons (1942), Charles Laughton's The Night of the Hunter (1955), Nunnally Johnson's The Three Faces of Eve (1957), and Samuel Fuller's Shock Corridor (1963) and The Naked Kiss (1964). https://en.wikipedia.org/wiki/Stanley_Cortez
https://en.wikipedia.org/wiki/Stanley_Cortez
Dale H. "Ted" Tetzlaff USA 1903-1995
https://en.wikipedia.org/wiki/Ted_Tetzlaff
Robert L. Surtees USA 1906-1985
http://movies2.nytimes.com/books/97/12/07/
Gilbert Warrenton USA 1894-1980
American silent and sound film cinematographer.
(...)
Notable credits include The Cat and the Canary (1927) [ and The Man Who Laughs (1928) ] and several B-movies of the 1950s and 1960s. https://en.wikipedia.org/wiki/Gilbert_Warrenton - 14 October 2020
https://en.wikipedia.org/wiki/Gilbert_Warrenton
Eugen Schüfftan GER 1893-1977
https://www.bfi.org.uk/films-tv-people/4ce2ba8cb7843
https://www.nytimes.com/2016/03/06/
https://www.nytimes.com/2009/11/15/
https://www.theguardian.com/artanddesign/2009/nov/05/
Arthur Edeson USA 1891-1970
film cinematographer, born in New York City.
His career ran from the formative years of the film industry in New York, through the silent era in Hollywood, and the sound era there in the 1930s and 1940s.
His work included many landmarks in film history, including The Thief of Bagdad (1924), Frankenstein (1931), The Maltese Falcon (1941), and Casablanca (1942) https://en.wikipedia.org/wiki/Arthur_Edeson
https://en.wikipedia.org/wiki/Arthur_Edeson
Karl W. Freund GER 1890-1969
German Jewish cinematographer and film director best known for photographing Metropolis (1927), Dracula (1931) https://en.wikipedia.org/wiki/Karl_Freund
https://en.wikipedia.org/wiki/Karl_Freund
https://www.nytimes.com/2016/10/30/
https://www.nytimes.com/2014/10/26/
https://www.nytimes.com/2008/07/22/
https://www.nytimes.com/2005/09/02/
https://www.nytimes.com/2004/10/19/
https://www.nytimes.com/1969/05/06/
John J. Mescall USA 1899-1962
https://www.nytimes.com/1935/05/11/
George S. Barnes USA 1892-1953
https://en.wikipedia.org/wiki/
Carl Hoffmann GER 1885-1947
https://en.wikipedia.org/wiki/Carl_Hoffmann
https://books.google.fr/
Chester A. Lyons USA 1885-1936
https://www.nytimes.com/2008/12/09/
https://www.nytimes.com/1991/11/01/
https://www.nytimes.com/1929/07/22/
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Related > The Guardian > In the director's chair
Jason Solomons interviews film-makers on video, discussing their latest work, career to date and their visions https://www.theguardian.com/film/series/inthedirectorschair
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