Cinematographer Barry Ackroyd has shot almost 50 features with numerous directors, but when it comes time to discuss his work on Kathryn Bigelow’s The Hurt Locker, his collaborations with two other helmers need to be referenced. The first is Ken Loach, the director Ackroyd is most associated with. The Manchester, England-born d.p. has shot many of Loach’s films, including Raining Stones, Ladybird Ladybird, Land and Freedom, the Palme d’Or-winning The Wind That Shakes the Barley, and his upcoming Looking for Eric. In these films he developed an unadorned, naturalistic camera and lighting style that gave them an almost doc-like verisimilitude. […]
Originally 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 […]
This piece was originally printed in the Fall 2010 issue. 127 Hours is nominated for Best Picture, Best Actor (James Franco), Best Adapted Screenplay (Danny Boyle & Simon Beaufoy), Best Editing (Jon Harris), Best Original Score (A.R. Rahman) and Best Original Song. When director Danny Boyle first got in touch with d.p. Anthony Dod Mantle about 127 Hours, the film following their Academy Award-winning collaboration Slumdog Millionaire, Dod Mantle remembers him saying that “he was convinced that the only way to get through this [movie] would be to subject an actor to a pretty extraordinary physical experience in as intense […]
The Myth of the American Sleepover has seduced audiences from Austin to Cannes with the intimacy of its look at a group of teenagers during one long, magical summer night. Writer-director David Robert Mitchell and his team discuss the film’s journey to the screen. By James Ponsoldt