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kaworu posted:Sometimes good cinematography is marked as much by technical prowess as it is the emotions or feelings that it might evoke, sometimes by way of nostalgia via visual memory. For instance, the cinematography in Collateral is good (to me) because it captures that feeling of being driven around LA at night in a cab - the lights, the sounds, the tone of the colors, etc. It's extremely evocative. The unscripted, serendipitous coyote scene really hammers this home. It's really like you, and the actors, and the camera, are just there. (Edit: in Collateral, obviously) Also his music choices are not questionable, even when they aren't good. He picks songs that are intensely of the moment of their filming. Like, what could work better for thrillers about assholes set in Bush era Florida and Southern Cal than fucken Audioslave and Linkin Park?
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Apr 7, 2016 18:35
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sean10mm posted:To be fair they were starting with the work of a terrible writer. God drat
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Apr 7, 2016 22:20
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Radio Spiricom posted:Yeah, there's an interview with him about Thief where he talks about why its shot the way it was (i.e. slick city streets at night, shallow focus cinematography that turns all the lights into floating orbs) which is because he thinks that it really captures what he describes as a three dimensionality to the night (presumably here meaning a heightened sense of reality/verisimilitude) and how it turns everything into a tunnel, which is interesting and I think the shift into digital only adds to this in those films. Public Enemies is clearly a whole different thing, but I don't think it matters that whatever record the Audioslave song was on was a few years old at that point. Even people who were alive for it won't be able to distinguish 2002 from 2004 in fifty years (or now, for the most part). The time setting of fiction that doesn't revolve around an historical event just isn't that precise. That cue feels very early 2000s, post 9/11 and is extremely appropriate to Vincent's quasi-meaningful philosophizing. He says he's all about jazz, but this evocative moment makes him think of radio rock. The song choice is characterization, not curation. If Vincent had survived, he'd have been listening to the same stuff while executing Iraqis for Blackwater a couple of years later.
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Apr 8, 2016 19:42
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