Authors — A.E. Hunt
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Lens Flair
Bradford Young and Neil Fanthom first forayed into edgier glass during their collaboration on Solo: A Star Wars Story. Fanthom, Arri’s director of technology at the time, worked with Young, the acclaimed cinematographer of Arrival, Selma and A Most Violent Year, to develop a set of Arri Prime DNA lenses personally tailored to his needs. The DNAs are essentially rehoused vintage glass meant to cover the Alexa 65 sensor, fine-tuned and developed from the ground up for the specific needs of a cinematographer on a particular film. While testing the lenses for Solo, Fanthom called in Young to look at […]
by A.E. Hunt on Jun 19, 2019 -
Day For Night on The Dead Don’t Die: Director Of Photography Frederick Elmes Shoots Jarmusch’s Zombies
Fred Elmes invited me to a DI Theater at Harbor Picture Company, a post-house bustling around the corner from Film Forum, to talk about his work on Jim Jarmusch’s The Dead Don’t Die. There was just an hour left of the allotted time to finish the HDR version of the film when I arrived at the DI suite, but Fred retained his cool as he lulled us to the finish line. In my time there, he liked to vignette the edges more or less, and bring faces up or down a level or two. Usually down. Our meeting there was […]
by A.E. Hunt on Jun 17, 2019 -
At The Mercy Of The Sun: Cinematographer Fan Chao On Shooting An Elephant Sitting Still
There’s an elephant at a circus in Manzhouli that sits and won’t move.“Perhaps some people keep stabbing it with forks,” Yu Cheng muses to his close friend’s wife, but the elephant still won’t budge. This is one of four characters whose lives eventually intersect en route to the seated behemoth. In the bleak mining city of the late writer/director Hu Bo’s slow epic An Elephant Sitting Still, people tend to linger as they’re being hurt too, in spite of the obvious exits that beckon them. Somewhere in the time it takes to endure this 230 minute trial of misanthropy, you […]
by A.E. Hunt on Apr 8, 2019 -
SXSW Notebook: E-Scooters, Three Studio Comedies, and the Political Party at the Paramount
Austin may have the highest scooter-to-citizen ratio of all e-scooter inclusive cities in the U.S. While my first impressions of previous editions of SXSW were the abundance of free swag and promotional doodads oozing out of the assorted pop-ups and festival-converted locales, this year it was all the scooters. In a single day, I witnessed a scooter driver get swiped by a car and two others fall clumsily to the pavement. University of Texas baseball star David Hamilton, Kaiser Health News reported, struck a pothole riding an e-scooter and tore his achilles tendon. He’s out for the season. Concerned Austin […]
by A.E. Hunt on Mar 20, 2019 -
“Do We Need Another Movie about Two White Kids in Brooklyn?” DP Ashley Connor on Madeline’s Madeline, Shooting Commercials and Diversity
I screened the amorphous Madeline’s Madeline twice in preparation for my interview with DP Ashley Connor; on the second go-around, I realized I’d be as nonplussed on a third or forth. I didn’t write any questions because I couldn’t. But perhaps an improvised approach was truer to the spirit of Madeline’s Madeline, which refuses to be pinned down. One of New York’s most prolific working DPs, Connor’s fervent demand for a higher standard of nuance, diversity, and inclusivity in the film industry naturally formed the backbone and throughline of our oscillating conversation which features, amongst other things, Nathaniel Dorsky’s Devotional Cinema, Grand […]
by A.E. Hunt on Feb 19, 2019 -
“It’s As If I Made A Suit Starting from the Buttons Instead of the Fabric”: Four Questions for Everybody Knows Writer/Director Asghar Farhadi
As in Asghar Farhadi’s About Elly (2009), a woman’s disappearance in Everybody Knows (Todos Lo Saben—this is Farhadi’s first film in Spanish) is the inciting incident. This time it is Irene, the daughter of Laura (Penelope Cruz), swept from her bed on the night of her aunt’s wedding—either by her own anarchic free spirit, or a kidnapper, stranger, or kin. Irene’s absence turns up dormant family secrets and suspicions that, perhaps, they all already knew. Bare and exposed, the festered family wounds must be dealt with until new ones emerge to be cast aside. Everybody Knows is another social realist thriller in […]
by A.E. Hunt on Feb 18, 2019 -
“…If They Don’t Bleed in Front of Camera, Then Usually They’re Sort Of Always Right”: Gus Van Sant On Cinematography, His Actors, and Don’t Worry, He Won’t Get Far On Foot
Gus Van Sant won’t settle and his insatiable itch to reinvent himself hasn’t ebbed. Years working in, out, and around the studio system have offered him ample opportunity to normalize, and, occasionally, he’s adopted the opportunity, if only to do something different (as only different could be his “norm”) once more. Even his deliberate efforts to direct something “standard” tend to tinge off-kilter, with his itch to experiment crackling just under frame. His latest re-invention, Don’t Worry, He Won’t Get Far On Foot, which has its streaming premiere today on Amazon Prime, wiggles somewhere in between Van Sant’s oeuvre of […]
by A.E. Hunt on Feb 8, 2019 -
“With Animation I Can Reach Beyond What’s Just in Front of Me”: Writer/Director Geoff Marslett on his Sundance Animated Short The Phantom 52
A restless trucker (credited as the titular “Phantom”) tugs his wheels across the highway and calls out to fellow drivers over his CB radio. No one else is on the road and no one reciprocates his cries via electronic airwaves. Eventually, the endless road gives to an endless ocean and the big rigs of the freeway morph into the whale varieties of the water. Whale calls, clicks, and songs reverberating over long distances in the ocean stand in for the Semis CB radios. But our Phantom’s whale calls out at a 52hz frequency, and no whale hears at 52hz, so […]
by A.E. Hunt on Feb 2, 2019 -
Shadows Under Strain: DP Lol Crawley and the Cipher of Vox Lux
When it comes time to “punish” the image of a film, say with filtration, grease (generously applied to the front of the lens), or underexposure, cinematographers regress from their dear and safe technical jargon and assume the barbarous dialect of medieval executioners. They don’t just underexpose their picture to see how it reacts under strain, they “suffocate” it, “break” it, and “destroy” it — sometimes in spite of itself. The digital image is nary embraced and mostly worked against, its sterile lines deliberately corroded and beaten to a duller moosh. Cinematographer Lol Crawley BSC (Ballast, 45 Years) tortures the film […]
by A.E. Hunt on Jan 21, 2019 -
“It’s Not Purification, It’s Something Else”: Sophia Takal Scorches Social Media Self-Care Celebrities in her Blumhouse Horror Feature, New Year, New You
In Blumhouse’s first female-directed feature film, New Year, New You, Sophia Takal (Always Shine, Green) sticks four friends from high school (played by an all-female cast toplined by Suki Waterhouse, Carly Chaikin, Kirby Howell-Baptiste, and Melissa Bergland) and their hidden grievances into one of the women’s sealed residence for a New Year’s reunion. The four are connected, molded and torn by a tragedy in their past that Takal reveals through sharp cuts of glass shattering and blood inking through a pool. Danielle (Carly Chaikin), now a social media self-care icon who claims to mix amongst the likes of Leonardo Dicaprio […]
by A.E. Hunt on Dec 28, 2018
