Re: Shine a light (Martin Scorsese, 2007)
Publié : 8 avr. 08, 09:56
La liste des chefs op' qui ont travaillé sur le film est assez impressionnante.
AICN a écrit :Here, Jagger’s concern that the people in the Beacon were going to get screwed because of all the cameras made Scorsese work extra-hard to keep that from happening. He signed cinematographer Robert Richardson to co-ordinate the shoot, and that name would be impressive enough on its own. But Richardson put together a dream team of some of the biggest cinematographers in the business and had all of them come in to be the primary on-stage camera operators, and the results are fantastic. This is a textbook example of how you shoot a live performance, and little wonder when you arm Mitchell Amundsen (TRANSFORMERS, WANTED), Stuart Dryburgh (LONE STAR, THE PIANO), David Dunlap (SHAUN OF THE DEAD), Robert Elswit (THERE WILL BE BLOOD, SYRIANA, BOOGIE NIGHTS), Ellen Kuras (ETERNAL SUNSHINE OF THE SPOTLESS MIND, HE GOT GAME), Andrew Lesnie (THE LORD OF THE RINGS, BABE), Emmanuel Lubezki (CHILDREN OF MEN, THE NEW WORLD, ALI, A LITTLE PRINCESS), Anastas Nichos (MAN ON THE MOON), Declan Quinn (IN AMERICA, LEAVING LAS VEGAS), and John Freakin’ Toll (THE THIN RED LINE, BRAVEHEART, ALMOST FAMOUS) with cameras and tell them to capture the event together. If that theater had, god forbid, burned to the ground, international cinema would have taken an immeasurable hit. This is about as great a collection of cameramen as any film has even been able to assemble, and I think the payoff isn’t about it being pretty... it’s about the fact that they captured details that no one else would have shot. This isn’t just the band and the audience and the songs and nothing else. The goal here seems to be to capture that essential connection that happens between musicians onstage, especially guys that have been playing together longer than I’ve been alive.