Barry Ackroyd (Captain Phillips), Sean Bobbitt (12 Years a Slave), Bruno Delbonnel (Inside Llewyn Davis), Phedon Papamichael (Nebraska) and Stuart Dryburgh (The Secret Life of Walter Mitty) sit down for a candid conversation with The Hollywood Reporter.
The Dark Knight is more than pop entertainment; it is filmmaking at it’s finest. Thus far, The Dark Knight is the highlight of Christopher Nolan’s filmography. When Christopher Nolan took over the batman franchise, it was impossible to know how he would bring the iconic character to life.
There is something special about Good Night, and Good Luck that separates it from other modern movies. It is presented in black and white, but I don’t think that is one of the film’s defining features. Black and white in this day and age suggests a commitment to vision. Filmmakers could almost always make more money with a color film; however, they occasionally choose not to take the easy path.
Tetro is the spiritual continuation of a career that began with The Rain People. Coppola based Tetro, like The Rain People, on an original screenplay. People arrived to see the director of The Godfather. They weren’t actually interested in the other films that make up the body of his work.
Michael Mann ignores the established language of cinema. For as long as film has existed people have added to the artistic medium, but Mann ignores the contributions others have made to cinema. Public Enemies is the third film since Mann remade his style.
Harry Potter and the Half-Blood Prince is a return to innocence. For the first time in a long time the protagonists are given time to play.