“Some people climb the crew ladder. I climbed the budget ladder,” says M. David Mullen, ASC, of his career as a cinematographer, the main DP… Read More »M. David Mullen, ASC – Cinematographer for “The Marvelous Mrs. Maisel”
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DoP César Charlone’s Vivid Colors and Projected Shadows Directed by Fernando Meirelles and set in 2013, the recent Netflix film The Two Popes imagines a… Read More »The Two Popes
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The Making of Angel Olsen’s Music Videos, All Mirrors and Lark Recall a time when recording artists, record labels and even music fans understood that… Read More »Hollywood-Style Cinematic Looks on a Budget
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PLSN Talks with DP Phedon Papamichael Whether it’s 1966’s Grand Prix starring James Garner or, to a lesser extent, Steve McQueen’s groundbreaking quasi-documentary from 1971,… Read More »Revved Up: Filming Ford v Ferrari
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An Interview with DP George Richmond… The most surprising thing about the new movie Rocketman isn’t that the life and times of British pop music… Read More »‘Rocketman’ Launches Into Theaters
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DP Autumn Durald Arkapaw Talks Cinema Lighting Take a 17-year-old teenager from the Isle of Wight, one whose self-esteem issues and shyness show in her… Read More »Teen Spirit
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Recapturing Queen, and the Band’s Epic Lighting Looks Fronted by flamboyant and cocksure showman Freddie Mercury, the rock band Queen became one of the most… Read More »‘Bohemian Rhapsody’
Read More »Solo: A Star Wars Story. Everyone’s going to see it; it’s a philosophical requirement at this point for Star Wars franchise fans. An inane difficulty… Read More »Solo: A Star Wars Story
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The recently completed remake of the 1974 Charles Bronson vigilante thriller, Death Wish, has undergone an exceedingly long gestation period and painful birth. Media reports of “creative differences” involving scripting and casting have contributed to years-long controversy surrounding a film whose trailer stoked a social media firestorm.
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We’re looking at the backs of two heads in a moving car, as a boy known as Little rides with a man he just met. The man, played with understated finesse by Mahershala Ali (who won an Oscar for the role), turns his head repeatedly to the silent boy beside him, but Little (Alex R. Hibbert) stoically refuses to speak. We are struck by the distance between them—the gap made even more pronounced by the extended width of the screen.
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