Ennio Morricone
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“Looking for False Performance Beats”: Editor Fred Raskin on The Hateful Eight
As the first film to be shot in the Ultra Panavision 70 format since Khartoum in 1966, Quentin Tarantino’s The Hateful Eight has deservedly garnered a lot of attention for its cinematography; shot in an extra-wide aspect ratio on a 65mm negative, it’s undeniably a spectacular showcase for director of photography Robert Richardson’s visual gifts. Subtler, but perhaps even more impressive, is the contribution of editor Fred Raskin, who assembles the 2.76:1 images like a maestro of space, timing, and movement. At over three hours in its Christmas Day “roadshow” edition, The Hateful Eight doesn’t have an extraneous frame – […]
by Jim Hemphill on Dec 28, 2015 -
“We Lost U2. What About Ennio Morricone?”: Phil Joanou on State of Grace, Making Heaven’s Prisoners and Working for Blumhouse
In September 1990, the American cinema changed forever when Martin Scorsese’s Goodfellas exploded onto the country’s multiplex screens. I’ve written elsewhere about that film’s influence and impact, which was so massive that its unfortunate side effect was to eclipse several other excellent mob films that were released at the same time. Indeed, the period was a remarkable one for terrific gangster movies – Miller’s Crossing, King of New York, Men of Respect, and The Godfather, Part III all premiered in the fall of 1990. To varying degrees time has been kind to all of these films, but none has aged […]
by Jim Hemphill on Jul 14, 2015
