Imagens relacionadas

pode aqui ficar as imagens que nao sendo dos filmes em si, estão relacionadas

Fiz o exercício de tentar adivinhar quem eram sem ver o nome.
Consegui identificar estes:
Halle Berry
Helen Hunt
George Clooney (pela expressão)
Jake Gyllenhaal
Katie Holmes
Brad Pitt

P.S. - Que foto é aquela do Travolta!!!!??

a do clooney e sarah jessica parker partem.me todo

Já tinha visto algumas, mas Clooney, Travolta, Demi Moore e Mil aka playmobil

Robocop

nice..

Land of the Lost

Mais um ZooPark..
pode ser que este seja bom.. not!

lol!!

2 very good dumbs!

vejam se conseguem adivinhar quem é esta...


totally wasted!

Se colocares a foto talvez acerte.

ao inicio tb n conseguia ver, mas agora já aparece

O site incontention lançou um artigo sobre as fotografias de 2007: mto interessante - http://www.incontention.com/?p=3157



I suppose in a way it was business as usual, but business is never usual with [the Coens], because every film they’ve done is so different. And I think we felt quite a responsibility to the novel. Visually, graphically, it was a very different look than what we’d been doing together up until then. It was like a Peckinpah western, the old sheriff standing in the way of the way the world was going.

–Roger Deakins



Steven Shore had these banal kind of images of America in the 70s, which were a great reference for colors and for props, and for the world that we were to inhabit and make the audience feel they were watching. Something that did concern me, however, was that it was very dialogue-driven, and I wanted to do things that were more cinematic. But all of David’s references were these wonderful movies that had this structure that I became interested in. The approach that he wanted to take was exciting for me.

–Harris Savides




Black and white always has the danger of being too stylized, but Anton is great at being efficient and taking risks and not questioning too much. That gave us confidence to go ahead with things. We wanted to make the film really personal and daring in a lot of ways.

–Martin Ruhe




The Prospect Park scene was the best example of a happy accident. It was not something that Aaron and I talked about a great deal. Though there were some basic ground rules. Obviously the movie is 80-90 percent handheld, and that was a conscious choice. We also made the decision that all of the cityscape shots were going to be completely static and separate from those other shots. We didn’t want there to be any additional presence other than the city.

–Andrew Reed




We were completely ripping off New York filmmaking from the 1970s, things like “Klute” and pretty much everything Owen Roizman has ever shot. But Tony’s sense of these things was not lots of little pieces; he loves making kind of graphic frames that play as long as possible.

–Robert Elswit




If we were stealing from anybody, it was a little bit of Kubrick. But that tends to be kind of Paul’s taste anyway. But in terms of temperature — and we’ve said this a million times — it was ‘Treasure of the Sierra Madre.’ We really wanted a sense of that. Oil drilling was a really hard life, and I think Paul was absolutely obsessed with capturing that.

–Robert Elswit




Joe and I are very clear that cinematography must be in service of the story. With the unfettered imagination, meaning can just explode and proliferate. So we wanted to keep in line with the script’s insistence on no adjectives, keep things clean as a whistle, very clear and with unfiltered light.

–Seamus McGarvey




Andrew said he wanted to create a Victorian Western, and he had a lot of visual references, from photographs to paintings and stills from other movies. But this was the 1870s, kind of late for a western. Jesse James was around at a time when the west was really changing; he lived in an area that was bustling. And Andrew wanted to get across that notion of change.

–Roger Deakins

O site incontention lançou um artigo sobre as fotografias de 2008: - http://www.incontention.com/?p=3843

“MILK”
Director of Photography: Harris Savides

It’s really simple and it wasn’t planned at all. We were shooting the scene and the last shot that night was a close-up of the whistle. Gus and I were talking and we thought it would be great if we saw the whole scene in this whistle, and Gus made it happen in post. They took one of the shots and put it in this shot, the close-up of the whistle we got. I was surprised that it happened at all. But that kind of stuff, especially with Gus, is very on the fly. There’s no storyboards.

–Harris Savides

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#9

I like this shot very much as well because you have all that emptiness and Daniel is separated from the rest. When you have all the snow, all the white around, you have reflections everywhere. That creates a mood that’s very special. I didn’t do anything with this shot other than giving the film a certain look using a specific film stock. There’s not much you want to do with lights because you have all this white. I’m always very interested mainly by the storytelling rather than anything else. It’s very simple, there’s nothing, no bells, no nothing, it’s very simple.

–Eduardo Serra

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#8

You kind of work the shot by what’s demanded by the story. The front of the shot is just Frank coming in the door and the exterior of the porch light that sort of rims him as he walks in. It was an aesthetic reason because it helps set the mood of the shot. We wanted this pool of warm light, sort of coming through this dark room and not knowing what you were going to expect. It was about capturing the surprise of Frank seeing that scene and that mixed emotion. And it wasn’t lit entirely by the candles. I asked the art department to make a cake that was big enough that I could hide a little gag light behind it.

–Roger Deakins
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I like to experiment, but I only ever experiment because of the story. We thought bringing him really close in the foreground would be good to create that distance between the two boys and create that dramatic comment. One of them is thinking about something else and the other is simply thinking about surviving and moving on. It’s a sad image too because you can’t help the connotation that these boys have lost their mom, you know. And those things don’t get storyboarded. Generally speaking when you’re working with Danny, every shot feels as important as every other one. And that shot is an example of the way we work . He’d have an idea for a picture and I’m there to help him as a visually trained composer of images — that’s my job.

–Anthony Dod Mantle

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The first time I spoke to Darren, it was very clear that the inspiration for the visuals of the film was in the work of the Dardenne brothers, who directed “Rosetta” and “L’Enfant.” That first shot was going to be much more complicated, a low, hand-held tracking shot that was going to move in on Mickey and turn around and start to discover his face. We tried it and Darren decided it was much too complicated. We decided to leave the camera in the back of the room with Mickey very small in the frame with his back to us and I think that right away it established the isolation of the character.

–Maryse Alberti

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Chris and I had long conversations discussing the best way to film this scene. This is the last we see of the Joker in the film and sadly one of the last days we were ever to work with Heath. We went back and forth trying to decide whether to leave him upside down in the frame for the whole scene or rotate the camera and have him right-side up and we did not make our decision until that day. Chris felt that, as long as we showed the camera rotation, and let the audience “in,” that the scene would play better with the Joker’s face upright. The end result is, of course, this eerie right-side-up image that defies gravity. We kept the illusion of the police helicopter flying around to motivate my overexposed blue, flickering light on the Joker’s face throughout.

–Wally Pfister

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David likes being able to roll instantly and he likes the convenience of HD, but of all the shots that was probably one of the easiest ones of the whole movie. It was just trying to be as naturalistic as possible. I get drawn to it more emotionally, because it’s not busy with light or camera movement at all. There’s no real equipment on that shot. There’s just a camera and a couple of actors out there and we were blessed by a little bit of overcast and there you go. It was one of those happy accidents. And it just seemed to have a great mood to it, the tree kind of pushed in on the side with this nice bell shape. Everyone has their favorite shots but a lot of people react to that one.

–Claudio Miranda


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It is an interesting shot in that it sort of highlights the working relationship between myself and Steve McQueen. He said it was as if the camera was a balloon bouncing around the room, always looking at Michael. There was no visual reference that he could think of but he had a gut feeling that there was something about that movement of the camera. It highlights Steve’s creativity because he’s coming from the world of art. We had several discussions about how you get a camera to move like that, coming up with all sorts of rigs — including large balloons — none of which were really practical. As we were getting more into the shoot, the birds started to grow in importance, and for Steve it was suddenly clear that it wasn’t a balloon, it was a bird, and the bird represented Bobby Sands’ soul, trying to escape this room.

–Sean Bobbitt

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The Battersea Power Station has such a wonderful history and was perfectly suited for our story. There are very few locations where you can find that kind of scale. Chris really likes these iconic Batman images (the helicopter shot of Batman on top of the tall building is another) and usually uses them in very powerful, emotional moments in the film. All that weight was presented on a massive, eight-story screen when viewed at an IMAX theater. I was quite pleased with the duality of the color palette, the blue of the dawn light mixed with the warm, orange of the fire light. We decided to shoot this as a dawn scene, as it allowed us to see much more of the destroyed Battersea interior than we would have had it been a night scene.

–Wally Pfister

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This shot can be seen as a compressed example of how we tried to treat the story throughout the film. It pretty much followed the ideas Tomas and I had about how to show cruelty, action and supernatural elements and where to put focus. We wanted to be close on Oscar and the way he experiences the situation, as well as have a platform to tell everything that happens in one shot. I am not sure if it is the most “pretty” frame of the film, but it was very exciting to try to unravel and solve the puzzle of all present elements in this shot, technically, as well as emotionally. I am very proud of Tomas and the way he dared to go with a climax that is so violent, but restrained and subtle at the same time.

–Hoyte Van Hoytema

Cool site
http://www.flickr.com/photos/ollym/sets/72157607801959609/detail/

mete a do cardozo shining aqui...

n fui eu que postei

http://notamovieposter.tumblr.com/

posters que foram descartados para marketing

ri-me bue

Foi o Mil

foi o mil o quê? penso que não deves ter percebido, olha bem