I don’t have too much to say about the Canon EOS C300 as an objective review. Others have written detailed technical pieces. There’s no need for another. Canon recently allowed me to play with their new camera for a couple of days, and the result is Both Ends, a sort of noir-lite short film that I directed. My intent in using the camera was to apply it in a purely practical manner: a narrative short that takes place over the course of a single day in multiple locations with differing lighting situations — all photographed using entirely available light. The […]
by Jamie Stuart on Mar 19, 2012Originally published in our Web Exclusives section on June 8, 2007. It is entirely without hyperbole to introduce Vittorio Storaro as one of the most singular and influential cinematographers in the progression of modern motion pictures. His color palette on films such as The Conformist and Apocalypse Now is without peer, and long-lasting collaborations with directors Bernardo Bertolucci, Francis Ford Coppola and Warren Beatty have been recognized with three Oscars for Best Cinematography (Apocalypse Now (1979), Reds (1981) and The Last Emperor (1987)). Storaro’s latest film is Caravaggio, screening this week as part of Lincoln Center’s series “Open Roads: New […]
by Jamie Stuart on Nov 14, 2011“Matthew, don’t allow yourself to ask “Why is he doing this to me?” Wonder why is he doing this to himself.” The blown-to-hell chaos of productions like Apocalypse Now, Fitzcarraldo and Jaws are often evoked as legendary examples of disasters turned into classic motion pictures, but after reading Matthew Modine’s Full Metal Jacket Diary, I get the feeling that was par for Stanley Kubrick. It’s one thing to hear stray anecdotes about life on his films, but it’s something quite different to swim through a first-person account of an entire project — an account that isn’t even a memoir but […]
by Jamie Stuart on May 5, 2011By Jamie Stuart
by Jamie Stuart on Jul 20, 2010