Gemma (vowel_in_thug) wrote in ohnotheydidnt,
Gemma
vowel_in_thug
ohnotheydidnt

The Top 10 Shots of 2008

(I posted the 2007 one last year :D)

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10. “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. “DEFIANCE”
Director of Photography: Eduardo Serra


"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. “REVOLUTIONARY ROAD”
Director of Photography: Roger Deakins


"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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7. “SLUMDOG MILLIONAIRE”
Director of Photography: Anthony Dod Mantle


"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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6. “THE WRESTLER”
Director of Photography: Maryse Alberti


"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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5. “THE DARK KNIGHT”
Director of Photography: Wally Pfister


"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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4. “THE CURIOUS CASE OF BENJAMIN BUTTON”
Director of Photography: Claudio Miranda


"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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3. “HUNGER”
Director of Photography: Sean Bobbitt


"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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2. “THE DARK KNIGHT”
Director of Photography: Wally Pfister


" 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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1. “LET THE RIGHT ONE IN”
Director of Photography: Hoyte Van Hoytema


"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




SOURCE 1 and SOURCE 2.

Anything they missed, ONTD?
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