Tag Archives: wally-pfister

Dark Knight Rises Cinematographer Calls The Avengers ‘Appalling’

They were two of the biggest movies in terms of box office this summer – and likely for all of 2012, yet the battle between The Dark Knight Rises and Marvel’s The Avengers opened a new front in the artistic sphere. TDKR made just over $1.07 billion worldwide (with a $250 million production budget), while Marvel’s The Avengers roared on with a $1.511 billion worldwide gross (and a production budget reportedly at $220 million). One cinematographer offered up his own impressions about the rival’s merits, calling it “appalling.” Wally Pfister won an Oscar for Inception as well as three nominations for Batman Begins , The Presige and The Dark Knight . He is even embarking on his own foray into the director chair on an upcoming project next year said that his past work as a news reporter and in documentary helped him to “reduce the amount of artifice” in his work. Though he has won recognition for his work with TDKR director Christopher Nolan on the Batman franchise, he admitted to not being much of a “super hero fan” and said his reaction was surprise when Nolan first approached him about doing Batman Begins . “I was like, really? A guy in a rubber suit?” Pfister is quoted as saying in the Herald-Tribune speaking to a film class in Sarasota, FL. He also gave his opinions on Marvel’s The Avengers , when asked what was most important in shooting a film. “What’s really important is storytelling. None of it matters if it doesn’t support the story,” said Pfister. “I thought The Avengers was an appalling film. They’d shoot from some odd angle and I’d think, why is the camera there? Oh, I see, because they spent half a million on the set and they have to show it off. It took me completely out of the movie. I was driven bonkers by that illogical form of storytelling.” Pfister, who along with Nolan has been steadfast advocate of film over digital, said The Prestige was his most “artistically fulfilling” and prefers TDKR among the Batman films. “I liked my work best in the last one, of course, because anything I felt I’d done wrong on each one, I’d right on the next one,” he said. He added that he’d “never say never” to any Batman 4 project. “I’m fortunate enough to have been successful enough that now I want to fulfill myself artistically. I guess I might do it right at the point where I had to sell my house.” His directorial debut is currently casting, but only gave a hint at details. “I can’t talk too much about it. It’s a present-day science fiction film, a fairly big concept. It’s bigger budget — not as big as Batman , but not independent. [ Sources: Herald-Tribune , Huffington Post , Box Office Mojo ]

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Dark Knight Rises Cinematographer Calls The Avengers ‘Appalling’

‘Looper’ Trailer Showcases Joseph Gordon-Levitt’s Transformation and Rian Johnson’s Future

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After having to deal with those teasers-for-the-teaser annoyance, we now have the actual teaser trailer for writer/director Rian Johnson‘s Looper, his futuristic sci-fi thriller featuring a Bruce Willis and Joseph Gordon-Levitt face-off, both playing the same character. Right off the bat you can see Gordon-Levitt is channeling Willis’s well-known demeanor and style. But based on the impression this… Broadcasting platform : YouTube Source : Film School Rejects Discovery Date : 13/04/2012 01:22 Number of articles : 2

‘Looper’ Trailer Showcases Joseph Gordon-Levitt’s Transformation and Rian Johnson’s Future

Paul McCartney Shoots New Music Video with Natalie Portman and Johnny Depp

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http://www.youtube.com/watch?v=f4dzzv81X9w Paul McCartney gave his new album, Kisses on the Bottom, a little plug last night when he premiered in L.A. a “self-directed video” for his new song, ‘My Valentine’. Shot on a 35mm camera by Oscar-winning cinematographer Wally Pfister (Memento, Inception, etc.), the black & white video features Natalie Portman and Johnny Depp “each translating the lyrics … Broadcasting platform : YouTube Source : Open Culture Discovery Date : 14/04/2012 11:11 Number of articles : 2

Paul McCartney Shoots New Music Video with Natalie Portman and Johnny Depp

Twitter Chatter: Paul Thomas Anderson Shooting The Master on 65MM

Paul Thomas Anderson diehards have gossiped for months over reports that the filmmaker is shooting an undisclosed portion of his next film, known as The Master , on 65mm — the IMAX film format used recently, and to great effect, by the likes of Christopher Nolan and DP Wally Pfister on The Dark Knight and Brad Bird and DP Robert Elswit on Mission: Impossible – Ghost Protocol . In a Twitter exchange yesterday, Pixar veterans Bird, Andrew Stanton and Lee Unkrich geeked out over the joys of 70mm film, dropping a bit of confirmation that Anderson is indeed shooting in the format. In a conversation about 70mm exhibition and 65mm film shooting, Stanton — who just finished his first live-action foray, John Carter , for Disney — Tweeted: ” The Master is indeed in 65. They nearly lost a camera shooting in the Bay.” You’d think Bird would’ve known seeing as Ghost Protocol DP Elswit is Anderson’s longtime cinematographer, but… there you have it. Assuming Stanton is indeed in the know, this would confirm a report earlier this year by the Anderson-watchers at Cigarettes and Red Vines that Anderson was shooting The Master in 65mm with DP Mihai Malaimare Jr., who lensed Youth Without Youth , Tetro , and the forthcoming Twixt for Francis Ford Coppola. Though many speculate that the plot of The Master has ties to Scientology, all that is known officially is that it’s a post-WWII set drama revolving around a charismatic leader of a faith-based organization (Philip Seymour Hoffman) and a drifter who becomes his right-hand man (Joaquin Phoenix). In any case, it promises to be an unusual use of 65mm/70mm than what modern audiences are used to since the scope and visual detail that the format can achieve hasn’t really yet been employed in non-action usage. Surely cause for excitement — right, Anderson fans? (And for you Pixar fans — how amazing was it to witness the Tweet circle between Bird, Stanton, and Unkrich? So nerdy. So awesome.) [@ AndrewStanton , CinemaBlend , Cigarettes and Red Vines ]

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Twitter Chatter: Paul Thomas Anderson Shooting The Master on 65MM

Twitter Chatter: Paul Thomas Anderson Shooting The Master on 65MM

Paul Thomas Anderson diehards have gossiped for months over reports that the filmmaker is shooting an undisclosed portion of his next film, known as The Master , on 65mm — the IMAX film format used recently, and to great effect, by the likes of Christopher Nolan and DP Wally Pfister on The Dark Knight and Brad Bird and DP Robert Elswit on Mission: Impossible – Ghost Protocol . In a Twitter exchange yesterday, Pixar veterans Bird, Andrew Stanton and Lee Unkrich geeked out over the joys of 70mm film, dropping a bit of confirmation that Anderson is indeed shooting in the format. In a conversation about 70mm exhibition and 65mm film shooting, Stanton — who just finished his first live-action foray, John Carter , for Disney — Tweeted: ” The Master is indeed in 65. They nearly lost a camera shooting in the Bay.” You’d think Bird would’ve known seeing as Ghost Protocol DP Elswit is Anderson’s longtime cinematographer, but… there you have it. Assuming Stanton is indeed in the know, this would confirm a report earlier this year by the Anderson-watchers at Cigarettes and Red Vines that Anderson was shooting The Master in 65mm with DP Mihai Malaimare Jr., who lensed Youth Without Youth , Tetro , and the forthcoming Twixt for Francis Ford Coppola. Though many speculate that the plot of The Master has ties to Scientology, all that is known officially is that it’s a post-WWII set drama revolving around a charismatic leader of a faith-based organization (Philip Seymour Hoffman) and a drifter who becomes his right-hand man (Joaquin Phoenix). In any case, it promises to be an unusual use of 65mm/70mm than what modern audiences are used to since the scope and visual detail that the format can achieve hasn’t really yet been employed in non-action usage. Surely cause for excitement — right, Anderson fans? (And for you Pixar fans — how amazing was it to witness the Tweet circle between Bird, Stanton, and Unkrich? So nerdy. So awesome.) [@ AndrewStanton , CinemaBlend , Cigarettes and Red Vines ]

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Twitter Chatter: Paul Thomas Anderson Shooting The Master on 65MM

Christopher Nolan [hearts] Michael Bay Movies

In news that’s tantamount to discovering that Julia Child secretly had a passion for Taco Bell, Inception cinematographer Wally Pfister revealed that director Chris Nolan really enjoys watching the cinematic oevere of Mister ‘Splosions-Bang-Bang himself, Michael Bay. My world has been turned upside down like a Joseph Gordon-Levitt fight scene. Maybe Nolan’s just watching to figure out what not to do? [ Cinematical ]

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Christopher Nolan [hearts] Michael Bay Movies

Exclusive: ‘Batman 3’ Cinematographer Hopes To Shoot ‘Whole Movie In IMAX’

‘I like IMAX more than I like 3-D,’ says Wally Pfister, Christopher Nolan’s director of photography. By Eric Ditzian Christian Bale as Batman in “The Dark Knight” Photo: Warner Bros. Early on in the “Inception” preproduction process, director Christopher Nolan and director of photography Wally Pfister had a conversation that dragged on for weeks: After shooting a portion of “The Dark Knight” in IMAX, would they also shoot their Leonardo DiCaprio-starring thriller in the large-scale film format? “Finally I had to tell Chris that the way he was describing the film, so much of it wanted to be with a handheld camera and kind of running around,” Pfister told MTV News. “That’s just not physically possible with the IMAX camera. We ruled out shooting in IMAX.” Their thinking on how to shoot “Batman 3,” however, might turn out to be vastly different. “I can’t say until I read the script, but it would certainly be my preferred, amazing goal to shoot the whole movie in IMAX,” Pfister said. That sentiment jibes with rumors from last summer that suggested the next “Batman” could indeed be shot all in IMAX . At this point, though, Pfister is waiting to get his hands on the script and to find out when the threequel will shift into production. When it does, he’s hoping to work with IMAX cameras and hoping to avoid 3-D ones. “I must say I’m a huge IMAX fan. I like IMAX more than I like 3-D,” he explained. “Chris’ films are so densely layered and have so much going on visually in every way that IMAX helps enhance that because of the scope and the scale of it — it becomes a much larger canvas to paint on. That’s what we found on ‘Dark Knight.’ “I’m not a big fan of 3-D,” he continued. “I liken it to my View-Master I had 40 years ago. Are you really getting more out of the story with 3-D? When you separate those different planes and you’re creating artificial depth, it looks phony to me.” Nolan hasn’t jumped on the 3-D bandwagon either, saying in June, “I’m not a huge fan of 3-D.” Still, any decisions about how to shoot “Batman 3” will ultimately involve Warner Bros. and will certainly wait until Nolan and Pfister sit down and have a discussion similar to the one they had in the run-up to “Inception.” “We usually have lunch and he asks me, ‘Tell me what your thoughts are,’ ” Pfister said. “It’s very casual. It’s not very technical. And then we start to build toward, ‘How are we going to shoot this? Where are we going to shoot this?’ My preproduction is about four months long before principal photography begins. “I can’t imagine how we’re going to step it up [after ‘Inception’],” he added. “But we will.” Check out everything we’ve got on “Inception.” For breaking news and previews of the latest comic book movies — updated around the clock — visit SplashPage.MTV.com . Related Videos MTV Rough Cut: ‘Inception’

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Exclusive: ‘Batman 3’ Cinematographer Hopes To Shoot ‘Whole Movie In IMAX’

Shyne Blames 1999 Shooting On ‘Survival Instincts’

Rapper shares his feelings about Diddy in September cover story of XXL. By Jayson Rodriguez Shyne on the cover of the September 2010 edition of XXL Photo: XXL Expatriated rapper Shyne graces the September cover of XXL, and in the issue, the formerly jailed star talks about his gun case, Diddy and the decision he made more than 10 years ago that changed his life forever. “In my life, when I make decisions to roll, I roll,” Shyne told the magazine about firing a gun while partying with Diddy and the mogul’s then-girlfriend Jennifer Lopez at Club New York. “And I don’t give a f— what the consequences are. If I’ma defend myself, I’ma defend myself. If somebody tryna kill or hurt one of my partnas or my comrades, that’s with me, there is no, ‘Yo,’ or, ‘Damn, well, if I pull this sh– out, this is what’s gonna happen.’ No! I don’t wanna die. I don’t wanna be laid up in no f—ing hospital with a tube runnin’ through me, hurtin’ and sufferin’. Pain is real. So you know what? I’m not doin’ that. You gon’ do that, mother—-er. You gon’ roll and say hi to Satan, not me. And that’s that. “Your survival instincts tell you to protect and preserve, and you deal with whatever later,” he explained of his actions. Shyne and Diddy were both charged in the December 1999 incident, and the two later went to trial separately with different legal representation. Diddy was aquitted , but Shyne was found guilty of first-degree assault, among other charges, and sentenced to 10 years in prison. After the trial, his relationship with the Bad Boy Records CEO soured. Shyne lashed out in interviews against his former mentor, claiming Diddy turned his back on him. Though he’s still not in agreement with the way things were handled, Shyne appears more measured in his personal take on Diddy’s actions. “You can always say, ‘Man, that ain’t the way to handle the situation,’ ” he told XXL. “Sure, I know in my soul that the situation was supposed to be handled in a different way. But it ain’t really a matter of disappointment or letdown, ’cause I never really … I grew up never having sh–, never having anybody. So I never was that dude to depend on a mother—-er. Obviously, the actions is not something that you condone or that you’re happy with. Not at all.” After serving almost nine years of his prison sentence, the Brooklyn-bred rapper was deported to his native Belize. Since then, he has re-joined Def Jam’s roster. The rapper has only provided a small sampling of material in the months after inking with the label, including “Messiah,” in which he raps with a noticeably drawn-out flow, a variation from the tighter delivery he displayed during his Bad Boy days. The Shyne interview is the first in a three-part series on the rapper set to run in forthcoming issues of XXL. Young Jeezy also graces the split cover of the magazine’s 13th anniversary issue, is set hit newsstands on the first week of August. XXL ‘s September issue hits stands August 10. Check out video coverage from the issue on the “Sucker Free Countdown,” Sundays at noon on MTV2. Do you think Shyne will be able to put the past behind him and create new music? Sound off in the comments. Related Artists Shyne Diddy

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Shyne Blames 1999 Shooting On ‘Survival Instincts’

‘Inception’ Hallway Scene: How Filmmakers Pulled It Off

‘I was blown away and also scratching my head,’ recalls DP Wally Pfister of seeing zero-gravity sequence in the script. By Eric Ditzian Joseph Gordon-Levitt in “Inception” Photo: Warner Bros. On the red carpet for “Inception” last week, star Joseph Gordon-Levitt talked at length about one of the film’s most eye-popping visuals: a zero-gravity fight scene in a dream-created hallway that spins in all directions. It’s an astounding bit of moviemaking magic that has you wondering just how director Christopher Nolan and his team were able to do that. We put that question to Nolan’s right-hand man and longtime director of photography Wally Pfister, who revealed the inside scoop about the hallway scene, describing it as the movie’s most technically challenging sequence. “There are always scenes in a Chris Nolan script where I’m wondering how we’re going to pull it off, going all the way back to Guy Pearce shooting Joe Pantoliano in the head in ‘Memento,’ ” Pfister told MTV News. To create the environment, the scene was shot using not CG effects, but rather massive, rotating sets that twisted and turned and forced Gordon-Levitt to maneuver with utmost caution. Five-hundred crewmembers were involved in the scene, which took a full three weeks to complete. In a World War I-era airship hangar just outside London (also home to sets for “Batman Begins” and “The Dark Knight”), Nolan’s crew built a series of different hallway settings: a horizontal one that rotated 360 degrees, a vertical one that allowed actors to wear wires and another on which the actors were strapped to steel trolleys, which were eventually erased using visual effects. “When I was reading those rotating hallway scenes, I was blown away and also scratching my head,” Pfister recalled. Gordon-Levitt trained for two weeks with the stunt department to learn how to negotiate the rotations. When it came time to shoot, the whole crew would rehearse first with no rotation, and then graduate to a slower rehearsal with a little rotation, until it was finally time to roll the cameras. “We run the fight scene for as long as the actors can pull it off,” Pfister explained. “We begin with a camera that’s not fixed to the set and shows a bit of the rotation, and then you quickly jump to where you’re rotating with the set. It creates this bizarre, strange movement. It’s an exhausting process for the actors. Having rotated on that set myself, it’s really quite challenging and a very strange thing to get used to. If you jump at the wrong time, you could be falling 12 feet through the air. “We kept coming back to it,” he added. “We’d shoot out a part of a sequence and then the riggers would have to adjust something. We’d duck out and shoot something else and come back a few hours later and shoot more. The whole thing was spread out over about three weeks. You’ve never seen anything like this before.” Which scene in “Inception” ranks as the most memorable to you? Tell us in the comments! Check out everything we’ve got on “Inception.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos MTV Rough Cut: ‘Inception’ ‘Inception’ Clips Related Photos Leonardo DiCaprio, Ellen Page, More Premiere ‘Inception’ In L.A.

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‘Inception’ Hallway Scene: How Filmmakers Pulled It Off