Barry Lyndon
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Watch: Shooting Barry Lyndon with Candles
Barry Lyndon joined the Criterion Collection last week, and they’ve shared an excerpt from one of the disc’s supplements in which focus puller Douglas Milsorne and gaffer Lou Bogue discuss the difficulty of shooting with all those candles — oxygen got scarce on the ground — and surreptitiously bouncing light to provide the necessary amount of illumination. For more, see this video on various DPs discussing the film’s groundbreaking cinematography and Jim Hemphill’s interview with three of the cast members.
by Filmmaker Staff on Oct 23, 2017 -
How Stanley Kubrick Shot Barry Lyndon Using Natural Light
Earlier this week we posted this video with Joe Dunton discussing the lenses used by Stanley Kubrick in his films. (Note: unfortunately, that previous video has been removed by the uploader.) Here’s the next in a Kubrick cinematography playlist: various cinematographers on his use of the BNC camera and Zeiss f/0.7 lenses to shoot Barry Lyndon in natural light. (As a reader below notes, this is an excerpt from Stanley Kubrick: A Life in Pictures, which is recommended viewing.) Previously at Filmmaker, Jim Hemphill sat down with three of the film’s actors for a discussion of the making of that […]
by Scott Macaulay on Apr 3, 2015 -
“I Never Had Any Interest in Becoming a Cinematographer Until 1965, When I Met Stanley Kubrick”: A Rare Profile of d.p. John Alcott
Here’s a true deep cut, evidently taped off New Jersey’s WNET and now resurrected on the internet. This ’80s profile of d.p. John Alcott (A Clockwork Orange, Barry Lyndon) features a lot of on-set footage of the cinematographer plying his craft; if you’re a big Beastmaster fan, this is for you. If just interested in the Kubrick stories you may want to skip to the 8-minute mark (where the d.p. talks about his initial collaborations with the director) and then to 14:20 or so, where Alcott discusses waiting patiently to capture very particular wind and cloud changes on the set of Barry […]
by Filmmaker Staff on Feb 18, 2015 -
“Stanley Begged Us Never to Talk About Him”: On Making Barry Lyndon
15 years after his death at the age of 70, director Stanley Kubrick remains more than ever a figure of admiration, fascination, and curiosity – and the pleasure his work provides seems, at this point, to be as infinite as the universe depicted in the final act of his 1968 masterpiece 2001: A Space Odyssey. A secretive and private director during his lifetime (though nowhere near the recluse he was largely reputed to be by the international film press), in death Kubrick’s process has steadily become more and more transparent, with a growing number of books, articles, and documentaries devoted […]
by Jim Hemphill on Nov 19, 2014 -
Kubrick’s One-Point Perspective
From Kogonada is this supercut of scenes from Stanley Kubrick’s films showing his fondness for symmetrically composed wide shots. Check it out, and follow the comments thread at the Vimeo link, where the conversation continues. (Hat tip: Text of Light.) Kubrick // One-Point Perspective from kogonada on Vimeo.
by Scott Macaulay on Aug 30, 2012 -
MATT D’ELIA’S “AMERICAN ANIMAL”
Screening Times: Monday March 14th, 6:30pm (State Theatre), Tuesday March 15th, 11:00am (Alamo Lamar A), Friday March 18th, 6:30pm (State Theatre) In the dark comedy American Animal, a delusional, terminally ill young man (director, writer, editor and star Matt D’Elia) spends a long, booze and drugs-fueled night with his soon to be relocating roommate (Brendan Fletcher) as they prepare to take vastly different paths in life and death. Filmmaker: How did you first conceive of the character of Jimmy? Did you always intend to play him yourself? D’Elia: Like American Animal‘s lead character, Jimmy, I was also very ill in […]
by Brandon Harris on Mar 16, 2011 -
Brian Cook, Color Me Kubrick
JOHN MALKOVICH AS IMPOSTER ALAN CONWAY IN BRIAN COOK’S COLOR ME KUBRICK. COURTESY MAGNOLIA PICTURES. Color Me Kubrick: A True…ish Story is the fascinating story of English conman Alan Conway (flamboyantly portrayed by John Malkovich) who made his career out of impersonating Stanley Kubrick. Conway found out that hardly anyone actually knew what Kubrick looked like, a discovery which led him to take his deception to extravagant, and often ridiculous, extremes. He used his borrowed identity to obtain huge amounts of money and seduce the young and impressionable, and got so immersed in the activities of his affluent alter ego […]
by Nick Dawson on Mar 23, 2007
