Woody Allen's Cinematographers
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- Cinematographer
- Camera and Electrical Department
- Actor
1 film
1966 – What's Up, Tiger Lily?- Cinematographer
- Camera and Electrical Department
Lester Shorr was born on 11 April 1907 in Brooklyn, New York, USA. He was a cinematographer, known for Take the Money and Run (1969), Medic (1954) and When Things Were Rotten (1975). He was married to Rosalind ?. He died on 28 July 1992 in Los Angeles, California, USA.1 film
1969 – Take the Money and Run- Camera and Electrical Department
- Cinematographer
Andrew M. Costikyan was born on 10 October 1922. He was a cinematographer, known for Bananas (1971), Beast from Haunted Cave (1959) and Ski Troop Attack (1960). He died on 10 October 2012 in Evanston, Illinois, USA.1 film
1971 – Bananas- Cinematographer
- Camera and Electrical Department
Cinematographer David M Walsh was born on July 23, 1931 to Dionysus and Angela Walsh. Brought up in Cumberland, Maryland, he began his career as an assistant to Lucien Ballard at the Disney studios on the likes of 'The Parent Trap' and during the 1960s also worked as a camera operator on several big budget spectaculars. He became a director of photography in 1970 with 'Monte Walsh' and ' I Walk the Line'. In addition to the cinema he has worked on television movies, gaining an Emmy for 'Queen of the Stardust Ballroom'.2 films
1972 – Everything You Always Wanted to Know About Sex * But Were Afraid to Ask
1973 – Sleeper- Cinematographer
- Camera and Electrical Department
- Actor
Ghislain Cloquet was born on 18 April 1924 in Antwerp, Antwerp, Belgium. He was a cinematographer and actor, known for Tess (1979), Love and Death (1975) and The Young Girls of Rochefort (1967). He was married to Sonia Salvy-Matossian and Sophie Becker. He died on 2 November 1981 in Montainville, Yvelines, France.1 film
1975 – Love and Death- Cinematographer
- Director
- Camera and Electrical Department
Gordon Willis was an American cinematographer. He's best known for his work on Francis Ford Coppola's Godfather films, as well asWoody Allen's Annie Hall (1977) and Manhattan (1979).
His work on the first two Godfather films turned out to be groundbreaking in its use of low-light photography and underexposed film, as well as in his control of lighting and exposure to create the sepia tones that denoted period scenes in The Godfather Part II (1974).
In the seven-year period up to 1977, Willis was the director of photography on six films that received among them 39 Academy Award nominations, winning 19 times, including three awards for Best Picture. During this time he did not receive a single nomination for Best Cinematography.
He directed one film of his own, Windows (1980). His last film as a cinematographer was The Devil's Own (1997), directed by Alan J. Pakula.
Willis died of cancer on May 18, 2014, ten days before his 83rd birthday, at the age of 82.8 films
1977 – Annie Hall
1978 – Interiors
1979 – Manhatton
1980 – Stardust Memories
1982 – A Midsummer Night's Sex Comedy
1983 – Zelig
1984 – Broadway Danny Rose
1985 – The Purple Rose of Cairo- Cinematographer
- Camera and Electrical Department
- Director
Carlo Di Palma was born on 17 April 1925 in Rome, Lazio, Italy. He was a cinematographer and director, known for Mighty Aphrodite (1995), Blow-Up (1966) and Manhattan Murder Mystery (1993). He was married to Adriana Chiesa Di Palma. He died on 9 July 2004 in Rome, Lazio, Italy.12 films
1986 – Hannah and Her Sisters
1987 – Radio Days
1987 – September
1990 – Alice
1991 – Shadows and Fog
1992 – Husbands and Wives
1993 – Manhattan Murder Mystery
1994 – Bullets Over Broadway
1994 – Don't Drink the Water (TV Movie)
1995 – Mighty Aphrodite
1996 – Everybody Says I Love You
1997 – Deconstructing Harry- Cinematographer
- Director
- Actor
Sven Nykvist was considered by many in the industry to be one of the world's greatest cinematographers. During his long career that spanned almost half a century, Nyvist perfected the art of cinematography to its most simple attributes, and he helped give the films he had worked on the simplest and most natural look imaginable. Indeed, Mr. Nykvist prided himself on the simplicity and naturalness of his lighting schemes. Nykvist used light to create mood and, more significantly, to bring out the natural flesh tones in the human face so that the emotion of the scene could be played out on the face without the light becoming intrusive.
Nykvist entered the Swedish film industry when he was 19 and worked his way up to becoming a director of photography. He first worked with the legendary Swedish director Ingmar Bergman on the film Sawdust and Tinsel (1953), but his collaboration with Bergman began in earnest with The Virgin Spring (1960). From that point on, Nykvist replaced the great Gunnar Fischer as Bergman's cameraman, and the two men started a collaboration that would last for a quarter of a century. The switch from Fischer to Nykvist created a marked difference in the look of Bergman's films. In many respects, it was like the difference between Caravaggio and Rembrandt. Fischer's lighting was a study in light and darkness, while Nykvist preferred a more naturalistic, more subtle approach that in many ways relied on the northern light compositions of the many great Scandinavian painters.
Nykvist's work with Bergman is one of the most glorious collaborations in movie history. Nykvist created a markedly different look for each installment of Bergman's Faith Trilogy. Through a Glass Darkly (1961) had an almost suffocating quality to it, and The Silence (1963) hearkened back to the days of German Expressionism. Winter Light (1963), the middle part of the trilogy, may very well be the most perfect work of Nykvist's repertoire. Having studied the light in a real provincial church carefully, he then recreated the subtle changes in the light as the day went on on a Stockholm sound stage. Indeed, it's hard to believe that the film was shot on a stage and not in a real church in Northern Sweden. For Persona (1966), Nykvist relied heavily on Sweden's famous Midnight Sun. In The Passion of Anna (1969), Nykvist was able to capture the chilly, soggy, and melancholy look of Faro, one of Nykvist's first color films. Both Nykvist and Bergman were both very reluctant to film in color. He created a fascinating study of white and red in Cries & Whispers (1972), for which Nykvist won an Oscar. He won an Oscar again for the last feature-length theatrical film that Bergman made, Fanny and Alexander (1982).
During the late 1970s, Nykvist began making films elsewhere in Europe and in the United States, working for directors such as Louis Malle (Pretty Baby (1978)), Philip Kaufman (The Unbearable Lightness of Being (1988)), Bob Fosse (Star 80 (1983)), Nora Ephron (Sleepless in Seattle (1993)), Woody Allen (Another Woman (1988), Crimes and Misdemeanors (1989)), Richard Attenborough (Chaplin (1992)), and fellow Swede Lasse Hallström (What's Eating Gilbert Grape (1993)). The documentary Ljuset håller mig sällskap (2000) paid homage to Nykvist, although it does not grant us any real secrets about his working methods. Nykvist died in 2006.4 films
1988 – Another Woman
1989 – New York Stories (segment "Oedipus Wrecks")
1989 – Crimes and Misdemeanors
1998 – Celebrity- Cinematographer
- Director
- Production Designer
Fei Zhao was born in 1961 in Xian, China. He is a cinematographer and director, known for Raise the Red Lantern (1991), Let the Bullets Fly (2010) and The Sun Also Rises (2007).3 films
1999 – Sweet and Lowdown
2000 – Small Time Crooks
2001 – The Curse of the Jade Scorpion- Cinematographer
- Camera and Electrical Department
- Producer
Wedigo von Schultzendorff was born on 5 November 1945 in Germany. Wedigo is a cinematographer and producer, known for Pandorum (2009), The Thirteenth Floor (1999) and Igby Goes Down (2002).1 film
2002 – Hollywood Ending- Cinematographer
- Camera and Electrical Department
- Actor
Darius Khondji was born on 21 October 1955 in Tehran, Iran. He is a cinematographer and actor, known for Amour (2012), Se7en (1995) and Delicatessen (1991). He is married to Marianne Khondji. They have three children.5 films
2003 – Anything Else
2011 – Midnight in Paris
2012 – To Rome with Love
2014 – Magic in the Moonlight
2015 – Irrational Man- Cinematographer
- Camera and Electrical Department
- Actor
Along with László Kovács, a fellow student who fled Hungary in 1956, Zsigmond rose to prominence in the 1970s. He is known for his use of natural light and vivid use of color on features such as The Long Goodbye (1973) and Close Encounters of the Third Kind (1977).3 films
2004 – Melinda and Melinda
2007 – Cassandra's Dream
2010 – You Will Meet a Tall Dark Stranger- Cinematographer
- Camera and Electrical Department
Remi Adefarasin was born on 2 February 1948 in London, England, UK. He is a cinematographer, known for Elizabeth (1998), Match Point (2005) and Everest (2015).2 films
2005 – Match Point
2006 – Scoop- Cinematographer
- Camera and Electrical Department
- Director
Javier Aguirresarobe was born on 10 October 1948 in Éibar, Guipúzcoa, País Vasco, Spain. He is a cinematographer and director, known for The Road (2009), The Others (2001) and The Sea Inside (2004).2 films
2008 – Vicky Cristina Barcelona
2013 – Blue Jasmine- Cinematographer
- Camera and Electrical Department
- Actor
Harris Savides was born on 28 September 1957 in New York City, New York, USA. He was a cinematographer and actor, known for Elephant (2003), Zodiac (2007) and Birth (2004). He was married to Medine Chenet. He died on 9 October 2012 in Manhattan, New York City, New York, USA.1 film
2009 – Whatever Works- Cinematographer
- Camera and Electrical Department
- Actor
Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. At the age of 11, he began studying photography at a technical school. He enrolled at C.I.A.C (Italian Cinemagraphic Training Centre) and subsequently continued his education at the state cinematography school Centro Sperimentale di Cinematografia. When he enrolled at the school at the age of 18, he was one of its youngest students ever.
At the age of 20, he was employed as an assistant cameraman and was promoted to camera operator within a year. Storaro spent several years visiting galleries and studying the works of great painters, writers, musicians and other artists. In 1966, he went back to work as an assistant cameraman on Before the Revolution (1964), one of the first films directed by Bernardo Bertolucci. Storaro earned his first credit as a cinematographer in 1968 for "Giovinezza, giovinezza". His third film was "The Spider's Stratagem (1970)" which began his long collaboration with Bertolucci. He also shot "The Conformist (1970)", "Last Tango in Paris (1972)", "Luna (1979)", "The Sheltering Sky (1990)_", "Little Buddha (1993)," for Bertolucci.
He won his first Oscar for the cinematography of "Apocalypse Now (1979)", for which director Francis Ford Coppola gave him free rein to design the visual look of the picture. Storaro originally had been reluctant to take the assignment as he considered Gordon Willis to be Coppola's cinematographer, but Coppola wanted him, possibly because of his having shot "Last Tango in Paris (1972), which had starred Marlon Brando. Brando's performance in the film had been semi-improvised, and Coppola has planned on a similar tack for his scenes in the jungle with Brando's character Colonel Kurtz.
The results of their collaboration were masterful, and he later shot the 3-D short "Captain EO (1986)", the feature films "One from the Heart (1981)" and "Tucker: The Man and His Dream (1988)," and the "Life without Zoe" segment of "New York Stories (1989)" for Coppola. He won his second Oscar as the director of photography on Warren Beatty's "Reds (1981)" and subsequently shot "Dick Tracy (1990)" and "Bulworth (1998)" for Beatty He won his third Oscar as the director of photography on Bertolucci's Best Picture Academy Award-winner "The Last Emperor (1987)".
"All great films are a resolution of a conflict between darkness and light," Storaro says. "There is no single right way to express yourself. There are infinite possibilities for the use of light with shadows and colors. The decisions you make about composition, movement and the countless combinations of these and other variables is what makes it an art."
According to Storaro, "Some people will tell you that technology will make it easier for one person to make a movie alone but cinema is not an individual art." Storaro disagrees. "It takes many people to make a movie. You can call them collaborators or co-authors. There is a common intelligence. The cinema never has the reality of a painting or a photograph because you make decisions about what the audience should see, hear and how it is presented to them. You make choices which super-impose your own interpretations of reality."
Storaro believes that, "It is our obligation to defend the audiences' rights to see the images and to hear the sounds the way we have expressed ourselves as artists,".
During the 1970s, the metaphor of cinematography as 'painting with light' took hold. Storaro, however, adds motion to the mix. Cinematography, to the great D.P., is writing with light and motion, the literal translation of the word cinematography, which derives from Greek
"It describes the real meaning of what we are attempting to accomplish," Storaro says. "We are writing stories with light and darkness, motion and colors. It is a language with its own vocabulary and unlimited possibilities for expressing our inner thoughts and feelings."
As a cinematographer, he is highly innovative. He had Rosco International fabricate a series of custom color gels for his lighting, which he used to implement his theories about emotional response to color. The "Storaro Selection" of color gels is available for other cinematographers from Rosco.
He created the "Univision" film system, which is a 35mm format based on film stock with three perforation that provides an aspect ratio of 2:1, which Storaro feels is a good compromise between the 2.35:1 and 1.85:1 wide-screen ratios favored by most filmmakers. Storaro developed the new technology with the intention of 2:1 becoming the universal aspect ratio for both movies and television in the digital age. He first shot the television mini-series "Dune" with the Univision system.
Storaro is the youngest person to receive the American Society of Cinematographer's Lifetime Achievement Award, and only the second recipient after Sven Nykvist not to be a U.S. citizen.4 films
2016 – Café Society
2017 – Wonder Wheel
2019 – A Rainy Day in New York
2020 – Rifkin's Festival- Cinematographer
- Camera and Electrical Department
Eigil Bryld was born on 27 February 1971 in Odense, Denmark. He is a cinematographer, known for The Holdovers (2023), In Bruges (2008) and Ocean's Eight (2018).6 episodes
2016 – "Crisis in Six Scenes" Episode #1.1
2016 – "Crisis in Six Scenes" Episode #1.2
2016 – "Crisis in Six Scenes" Episode #1.3
2016 – "Crisis in Six Scenes" Episode #1.4
2016 – "Crisis in Six Scenes" Episode #1.5
2016 – "Crisis in Six Scenes" Episode #1.6